movie review kumari

'Kumari' movie review: An impressively mounted creature feature

Those who felt alienated by the attempt at making a Hollywood-ised Malayalam action thriller in filmmaker Nirmal Sahadev's debut, Ranam, should find the relatively more grounded setting of his second feature, Kumari, more comforting to their sensibilities.

If the two films are placed next to each other in front of someone who has no clue as to the person who directed it, there is a chance they might get surprised at being told it's the same person. Ranam was on par with a Hollywood film in terms of technical finesse. I don't know the complete story behind its making other than the information that the Prithviraj-starrer was supposed to look way more ambitious, a plan eventually curtailed by budgetary constraints.

However, Kumari gives the sense that Nirmal and his team got to exercise their creative freedom in a way they couldn't on Ranam. I say this because Kumari seems -- to me at least -- a more wholesome work. Beginning with the voiceover opening narration that sets up the back story for the whirlpool of events about to unfold, Kumari engaged me through the ferocious climactic battle between -- well, I'm not going to spoil it for you.

Powered by a heavily folklore-influenced narrative that bears elements of a gothic horror story or a monster feature, Kumari is one of those films with all its departments well-balanced. There is no attempt from one to overshadow the other. I see Aishwarya Lekshmi's titular protagonist as a Malayali version of the main character from Daphne du Maurier's Rebecca simply because she is married off to a family tormented by a dark history.

When Kumari first arrives at the front gate of her spouse Dhruvan's (Shine Tom Chacko) ancestral mansion, it is nighttime, and the place, although abundantly lit, exudes an air of menace. And once you realise that this is the same place where something terrible happened a while back -- an incident depicted in the film's prologue -- you anticipate many chilling eventualities. It's just another patriarchal household where newlywed women get a warm welcome and have no clue about the overwhelming darkness that will soon engulf them.

Interestingly, Kumari -- which swirls around dark magic and chathan seva (demon worship) -- comes out at a time when another film based on Hindu myths and rituals (Kantara) is running in theatres, aside from the fact Kerala recently witnessed an extremely unsettling case of human sacrifice. Kumari's central idea fits comfortably in the numerous scary stories our mothers and grandmothers had narrated to us. Some of us grew up believing them, while others grew up to realise that they are just stories. I belong to the latter. (Yes, one can be an atheist and still enjoy these stories.) And Kumari is a very effective one at that. It's rich with details, revealing more intriguing characters and backstories as it progresses.

Take, for example, the whole subplot involving Giju John (playing Shine's cocky elder brother), his wife (Swasika), and his paramour (Shruti Menon). The entire thing has a Shakespearean flavour. Shruti doesn't show up often in the film, but her Lady Macbeth-like influence becomes responsible for a fair amount of damage later on. While on Shakespeare, Shivajith Padmanabhan, who starred in Jayaraj's Malayalam adaptation of Macbeth (Veeram), makes a small but crucial appearance while Tanvi Ram plays his doomed spouse. In the meantime, we get a Vidheyan-like oppression angle with farmers reliant on the mercy of the elite.

Interestingly, we find subservient characters even in the upper-caste household, which includes Dhruvan. When we first meet him, he is seated on the floor next to his father's feet. He is like a pet that, one fine day, becomes its owner's pride after the latter realises that it can produce an heir -- in this case, to continue the legacy of the tharavadu. But every male character in Kumari who believes he is in charge becomes as vulnerable here as the powerless, given the presence of sinister forces in the background.

But Kumari is ultimately driven by the tumultuous conflict between Dhruvan and Kumari. Shine demonstrates yet another delightfully bizarre turn that doesn't strike one as repetitive. The actor employs his entire physicality to produce a performance that evolves from timid and tender to deranged and violent. His aberrant behaviour gets a backstory that's not entirely clear. That's where one of the minor quibbles I have with the film lie -- the incoherent delivery of some of Shine's dialogues. I wonder if it's deliberate -- you know, to add a sense of mystery? Is this approach similar to what Christopher Nolan did with Tom Hardy in The Dark Knight Rises?

On the other hand, Aishwarya lends Kumari the necessary amount of grace, adventurous spirit, maternal traits, and steely determination. I liked how the melodrama is kept to a bare minimum, even when she encounters the most tragic circumstances -- and this is a story with enough scope for melodrama; fortunately, the team behind the film seems to have a clear idea of where to draw the line. Aishwarya's is not a performance marked by excess theatricality, unlike that of Shine, for whom it makes complete sense. I cannot imagine anyone else in Dhruvan's role now.

I must also add that it was refreshing to see Rahul Madhav playing a good guy for a change. The staging of his final confrontation with Shine is sufficiently intense. And Surabhi Lakshmi is nearly unrecognisable in a performance that oscillates between chilling and motherly.

As with Ranam, the most impressive aspect of Kumari is its visual texture heavy with ominous foreboding. Cinematographer Abraham Joseph's painterly frames, which chiefly rely on available light, recall the work of Santosh Sivan in Perumthachan or John Alcott in Barry Lyndon. Gokul Das' art is devoid of gaudiness. Jakes Bejoy's background score is quite effective except in that underwhelming introductory song with Aishwarya. I must credit Sreejith Sarang's seamless editing for ensuring that I was not bored even for a second throughout the film.

The special effects-heavy finale is reminiscent of the impressive B-movies of the 80s, particularly that of John Carpenter, of whom I'm a huge fan. The choice of revealing the monster(s) only in the third act follows the tradition of Steven Spielberg (Jaws) and Ridley Scott (Alien).

In escapist stories of such nature, I always seek that immersive, time-travel-like experience, which is just what I got from Kumari.

Kumari Cast : Aishwarya Lekshmi, Shine Tom Chacko, Giju John, Tanvi Ram, Swasika, Shruti Menon, Surabhi Lakshmi Director : Nirmal Sahadev Rating : 4/5

This copy originally appeared on cinemaexpress.com

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Kumari (2022)

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Prithviraj Sukumaran (Narrator) Aishwarya Lekshmi (Kumari) Surabhi Lakshmi (Muthamma) Swasika Vijay (Lakshmi) Shine Tom Chacko (Dhruvan) Shruthy Menon (Parijatham) Giju John (Achuthan) Tanvi Ram (Nangakutti) Rahul Madhav (Jayan) Shivajith (Thuppan Thamburan)

Nirmal Sahadev

The world of Kumari, who is married off far away in Kanhirangat, a cursed land beyond Illymala, in the west. A naive Kumari arrives in the cursed land, where people are ready to sacrifice their lives to preserve tradition

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Kumari movie review: A fantasy horror drama which proves to be a spell binding experience

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Film Review: ‘Kumari’- A Cinematic Masterpiece Colliding At The Helm Of Patriarchy And Caste

Kumari , a cinematic masterpiece by a visionary filmmaker is an effortless qualm of captivating social and political realities with strong artistic vision as its support. 

The film delves deep into themes of identity, resilience, and the unyielding spirit of the human soul. The theme of the film also explores caste, class, mental health and gender over the course of 2 hours and 17 minutes of its screening. The story starts with the grandmother’s voice narrating a story to the granddaughter. The story is about a young girl who is married to Kanjirangattu Tharavadu. It begins with a focus on a young goddess who desires to visit Earth, which she does and loves so much that she decides to stay back.

She falls in love with a human and they have children together. The twist in the story begins when the children turn out to be demigods and a mishap starts happening within the family.

Bedtime stories are profound, gazing and often a carried ritual of a Malayali family irrespective of addressing the social beliefs associated with such rituals. Kumari, the lead in the movie, is one of the characters in a tale told by a grandmother to her granddaughter. 

 The film provides a nuanced portrayal of the complexities of rural life 

In the sleepy village of Kumari , nestled next to the enigmatic Illimulam forest, lies the prominent Kanjirangattu family. This family, steeped in tradition and myths, is shrouded in mystery as it grapples with its own dark secrets. Adding to the intrigue is the Chathan, peculiar beings born with extraordinary features, who are believed to be the children of a goddess who abandoned heaven to live among mortals.

Kumari, an orphan raised by her uncles and brother, embarks on a new chapter in her life when she marries Dhruvan, the youngest son of the Kanjirangattu Tharavadu. However, as she settles into her newfound family, she gradually becomes aware of the pervasive influence of blind faith and sorcery that engulfs the villagers.

Amidst her own personal growth, Kumari begins to question the unquestioning devotion and reliance on supernatural forces prevalent in her community. She finds herself at odds with the entangled web of superstitions and rituals that dictate the villagers’ lives, yearning for a more rational and enlightened approach.

The juxtaposition of Kumari’s journey into the Kanjirangattu family and her realisation of the community’s collective reliance on faith and sorcery forms the crux of the film. It explores the conflict between tradition and progress, highlighting the need for critical thinking and individual agency in the face of ingrained beliefs.

As Kumari grapples with her own identity and the weight of ancestral customs, the film provides a nuanced portrayal of the complexities of rural life and the resilience of its inhabitants. It invites viewers to contemplate the blurred boundaries between folklore, spirituality, and reality, prompting a deeper examination of the human inclination towards the mystical and the power of collective beliefs.

The craving for power and the politics of dominance in Kumari

Kumari takes audiences on a journey through a sleepy village where the Kanjirangattu family and the mysterious Chathan and the tribal community reside. It paints a vivid picture of a community driven by faith and sorcery, while Kumari herself navigates the clash between tradition and personal growth. The film encourages introspection on the influence of superstition and the importance of critical thinking in shaping our lives and society.

The craving for power and caste-based discrimination is also blindly appeased and followed by the family. The monopoly of owning land and deep-rooted feudalism within dominating caste groups was clearly evident in the film when the father talks about owning most of the hard-earned money of the villagers.

This resonates with the old age Brahminical domination in rural spaces where lands are being captured and most of the villagers are forced to live at the helm of charitable offerings by the village ruler.

The film took a harder look at the mental health and well-being of people who experience generational trauma, however, though well-tried, the film vocally fails to address the concern after raising it at any point later on.

The film’s strength lies in its powerful storytelling and exceptional performances. The protagonist, portrayed by Aishwarya Lakshmi, draws viewers into her world with her raw emotions and compelling portrayal. Through her character’s struggles and triumphs, the film tackles societal pressures, self-discovery, and the complexity of personal identity. The conflicting marital hegemony was clearly seen when the central character had her own confusing take on her partner’s past.

Visual ornaments in the film and the rural tribal communities

The cinematography in Kumari is truly breathtaking. Every frame is meticulously composed, with a keen eye for capturing both the beauty and harsh realities of the protagonist’s environment. Wide-angle shots of the place and the scenic beauty of the rural landscape were successfully captured in the entire film. The visuals are enhanced by a remarkable musical score that elevates the emotional impact of the narrative, immersing the audience in the protagonist’s journey.

What sets Kumari apart is its ability to provoke deep introspection and ignite conversations on cultural norms and gender roles. The film fearlessly confronts societal constructs and challenges the status quo, shedding light on the significance of individual freedom and personal choices.

While the film is undeniably impactful, there are moments when the pacing feels slightly uneven. Some scenes could have been trimmed to maintain a more consistent rhythm. Nonetheless, this minor flaw doesn’t detract significantly from the film’s overall brilliance. The traditional take on the film beautifully captures the usual household chores of a Malayali family at the same time interestingly evokes the interest of the audience with the social divides of society with respect to caste, class, race and gender.

Kumari is a testament to the power of independent cinema, showcasing the ability of a small-budget production to deliver a profound and resonant experience. It will leave viewers reflecting on their own lives, the expectations placed upon them, and the courage it takes to embrace one’s true self.

Most of the elements in the film can be left for the audience to capture, understand, resonate and also the ability to reflect upon the notion of different social constructs impacting individual lives.

The film mesmerises with its subtle take on identities 

In Kumari , the effort to show the interplay of identities, caste, patriarchy and also the livelihood of tribal communities are major takeaway elements. The film finds its own depth with its social-cultural and political commentary with respect to complexities and challenges faced by individuals within these intersecting systems.

Caste, a deeply entrenched social hierarchy in many parts of India, is subtly addressed in Kumari . The protagonist’s struggle with her identity and societal expectations reflects the rigid caste-based norms prevalent in her community. The film highlights the pressure to conform and the consequences of defying caste boundaries, ultimately questioning the impact of these divisions on individual freedom and self-expression.

Caste, a deeply entrenched social hierarchy in many parts of India, is subtly addressed in Kumari . The protagonist’s struggle with her identity and societal expectations reflects the rigid caste-based norms prevalent in her community. The film highlights the pressure to conform and the consequences of defying caste boundaries, ultimately questioning the impact of these divisions on individual freedom and self-expression. Kumari’s character reflects thoughts around the strong gender roles which are often coerced into the lives of the dominant gender in the familial tree in the name of culture. 

Despite this, the character is also shown to build resistance towards the imposed roles through the agility of contradicting her partner and his opinion while similarly acknowledging the mental health issues faced by him. 

Delves into the experience of identity and a grappling take on social positions 

Gender plays a central role in Kumari , as the protagonist navigates the patriarchal structures that dictate the roles and expectations imposed on women in her community. The film portrays the protagonist’s journey of self-discovery and defiance against gender stereotypes, challenging the traditional notions of femininity and the constraints imposed by a male-dominated society. It presents a powerful critique of gender-based discrimination and emphasises the importance of empowering women to assert their agency.

The intersectionality of caste, gender, and patriarchal notions in Kumari allows for a nuanced exploration of the complex dynamics that shape individuals’ lives. It prompts viewers to critically examine how these systems intersect and perpetuate social inequalities. The film encourages a reevaluation of these ingrained societal norms and calls for a more inclusive and egalitarian society that celebrates diversity and upholds individual rights.

Moreover, Kumari delves into the experiences of tribal communities, shedding light on their marginalised position within society. The film highlights the challenges faced by these communities, such as limited access to resources, discrimination, and the preservation of their cultural identity in the face of modernisation. By centring the narrative on a tribal protagonist, the film offers a platform to amplify their voices and shed light on their unique struggles and resilience.

Kumari skillfully weaves together the themes of caste, gender, patriarchal notions, and tribal communities, offering a compelling portrayal of the challenges faced by individuals within these intersecting systems. The film serves as a powerful critique of societal structures that restrict individual freedom and a call to challenge and dismantle these oppressive norms. It invites viewers to engage in introspection and actively work towards a more equitable and inclusive society.

The film sums up at the end when Kumari is shown to have outgrown her character as poignant, composed and also a sound individual taking on life with sincerity and power at the same time. The end relives with her having said about the importance of doing things right as the family has a history of doing things wrong. This also touches upon the importance of a long debatable topic around the leadership abilities of individuals coming from different ranges of marginality. Marginality isn’t only about bringing divisive and inclusive policies but also stressing the idea of pluralism far.

Overall, Kumari is a must-watch film that stimulates the mind, tugs at the heartstrings, and leaves a lasting impression. It is an artistic triumph that reminds us of the strength and resilience within each individual, and the importance of embracing our true selves.

Ritwik is a northeastern Bahujan who has been a journalist for 2 years. He has also been a UN fellow for the year 2021-22. He has worked on several papers like writing about reportage in broadcast media on women impacted by floods in the northeast. He is currently working on queer representation in the regional press of Assam. Most of the work focused on gender, sexuality, intersectionality, climate change, marginalised and vulnerable communities and data journalism. He has been a contributing writer at Youth ki Awaaz, Feminism in India and Swaddle for the last 4 years.

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2022 ‘കുമാരി’ Directed by Nirmal Sahadev

Kumari is married off to Dhruvan of Kanjirangattu Tharavadu, a cursed land beyond Illmayi, in the west. As Kumari finds her comfort zone in her new family which is heavy with mystery, myths and superstitions, she also realizes that the people over there are blinded by faith and sorcery, ready to sacrifice their lives to preserve tradition, prosperity and peace.

Aishwarya Lekshmi Shine Tom Chacko Swasika Surabhi Lakshmi Rahul Madhav Tanvi Ram George Shivajith Padmanabhan Giju John Shruthy Menon Santhakumari Savithri Sreedharan Dineesh P

Director Director

Nirmal Sahadev

Producers Producers

Jakes Bejoy Sreejith Sarang Nirmal Sahadev Aishwarya Lekshmi Giju John Jins Varghese Priyanka Joseph Mridula Pinapala

Writers Writers

Nirmal Sahadev Fazal Hameed

Editor Editor

Sreejith Sarang

Cinematography Cinematography

Abraham Jospeh

Executive Producer Exec. Producer

Harris Desom

Production Design Production Design

Visual effects visual effects.

Sanath T.G.

Stunts Stunts

Dhilip Subbarayan

Composers Composers

Jakes Bejoy Manikandan Ayyappa

Songs Songs

Kaithapram Damodaran Joe Paul Jyothish Kasi

Sound Sound

Hari Haran Sachin Sudhakaran Aravind Menon

Costume Design Costume Design

Stephy Zaviour

Makeup Makeup

Amal Chandran Kyle Pasciutti

The Fresh Lime Sodas

Horror Drama Thriller Mystery

Releases by Date

28 oct 2022, releases by country.

• Theatrical UA

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Popular reviews

Review by Rahul Radhakrishnan ★★ 2

Thattin purath ulla zombie thampuran parayunnath shine tom chacko parayunnathinekkal maryadhak kelkkaam... Ennit ayalk polum subtitle und....

Review by NimmUwU ★★ 2

Another 'potential undarnu but paalipoyi' padam Shine Tom Chacko was probably the worst aspect, like mf speak properly, aa chaatan paryanatu vere nalla clear ayi manasilavind ingeru entelum parayumbo subtitle venam

Review by joshrowley ★★

Curious; different; musical; overlong; slow; unscary.

Review by _darkknight_ ★★★ 2

I am glad this movie exists.

Shine and aishu have great chemistry here. Like they really work out as a great pair. When it comes to the acting, shine just lives the character. Man even forgot the fact that he should be audible to people. But ya the mumble thing worked out for me…It really suits that character. He manages to keep the spooky vibes and be vulnerable at the same time. Aishu also does a great job in fitting into this world. The cinematography and all the other technical stuff were adding a lot personality. 

Nirmal Sahadev needs a good writer…like the concept really has a lot to offer. The dialogues made it sound like play rather than movie.…

Review by baazimm ★★½

shine tom chacko thooran muttiya pole ninn endhuva kaanich kootune💀

Review by brutalkangaroo

"She's mid but I like her"

Review by Sree Hari ★★½ 2

Spooktober 2022  #14

Kumari is visually spectacular and the score improves the theatre experience. But the lack of depth in the screenplay and characters and the over dramatic dialogue delivery in many scenes were a huge letdown for me. It was also evident that Tumbbad has heavily influenced the movie too.

Review by Suryadattan KB ★★½

She fixed the whole village

Review by Moresbi ★★★½

#37 - Produced by India from Asian Horror Challenge 2023

Progress: 11/61

Kumari was actually slightly better than I expected, in a way.

This one is visually beautiful and outstanding, with great cinematography and locations. You can literally extract HD postcards from this, for sure (the pond, for instance). The sound department follows closely... I thought the background soundtrack was very strong but some of the "music" interludes were good but not on that level (and they did overextend the movie a bit, IMO).

The plot/tale is pretty much about mythology, curses and superstition. The story is narrated and it has a pretty extensive intro, which will fill you in on the basics/origin of the events (I definitely enjoyed this…

Review by Deepak Chazhoor ★★

Making is fine, but the screenplay is as mundane as they come. Had a hard time keeping my eyes open, to be honest. Shine Tom Chacko is miscast in a role with complex/mixed shades and delivers one of his interview  performances here. Aishwarya Lekshmi does most of the weight-lifting but there’s only so much one artist could do with such a dreary material to work on. This mythological folk horror story had such a fantastical premise, but ends up as a wasted opportunity.

HorrOctober '22

Review by BigDeePee ★★½

Aishu chechi's half baked Bramayugam

Review by rotokoooo ★★★

enik eni oru Anandabhadram sequel venam :(

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Kumari Review | Aishwarya Lekshmi-starrer loses its way in a supernatural world

It seems Prithviraj Sukumaran is ready to spend his time and money on any script as long as it has an element of high drama. Take his directorial debut 'Lucifer', or his recent films 'Kuruthi', 'Jana Gana Mana' or 'Kaduva', his penchant for high drama is clearly evident.

Tell him, there is an element of the underworld, terrorism or something supernatural in the story, and he is readily onboard. He has acted in at least five films themed around the supernatural in the past five years. So, one has every reason to believe that Prithviraj must have been lured to Aishwarya Lekshmi-starrer 'Kumari' primarily by its plot which has supernatural and sorcery at its core. Prithviraj doesn’t play any role in the film; he is a co-producer.

'Kumari' is a fantasy film laced with an element of horror and loaded with motifs that are deep-rooted in Kerala's religious and ritualistic psyche.

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It's yet another screen version of an ancient story that is told across the world, in diverse forms. The central theme is the man’s hunger for power and self-destructive interaction with the evil forces beyond his control.

No matter how many times it was told, people never run out of their curiosity when it comes to a story about the imaginary other world and its beings. The challenge before a filmmaker while attempting this genre is to make the story, often a stale one, look as fresh and convincing as possible. Director-writer Nirmal Sahadev starts 'Kumari' on the right note. The film has the perfect beginning for fantasy as the prelude sets the launchpad right. The grandma’s tale takes the audience to a strange world of the good gods and the mischievous elves and goblins rather easily. The problem with the narrative as it progresses is that it fails to live up to the build-up in the initial sequences.

The film is set in an undated period where feudalism is the order of the day. The story unfolds in a local landlord's ancestral house – in its dark corridors, dim-lit rooms and spooky attic. And the action at times shifts to the depths of a forest nearby. No, there are no ghosts in the film. Instead, there is a 'chathan' (a supernatural being worshipped by the so-called lower castes) and another blood-thirsty deity. Between them is Kumari, a village girl who was married off to the Kanhirangat tharavad (ancestral home), and her multi-shaded husband Dhruvan. Kumari not only comes to face with a series of extraordinary incidents in the house but also becomes a part of them. She is the chosen one to set right a series of wrongs committed by a former patriarch some generations ago. The setting is intriguing for anyone with a taste for fantasy and mystery.

The plot, however, is stuck in a rulebook of the genre, if there is one. The characters' tension doesn't convey to the audience. The narrative flows in a rather predictable manner, leaving little moments of thrill and fear.

Aishwarya as Kumari gives a composed performance. There is not even a single scene where she looks unconvincing even when the plot goes chaotic or confusing. Shine Tom Chacko tries his best to give life to Dhruvan, the introvert-turned-cold-blooded sorcerer and a cruel feudalist. His body language conveys the transition clearly but the character suffers from his dialogue delivery at places. Swasika Vijay as Kumari’s caring sister-in-law offers a subtle performance while Surabhi Lakshmi, an otherwise brilliant actor, is given a role that forces her to resort to an extra dose of theatrics.

Abraham Joseph’s cinematography, Sreejith Sarang’s editing and Gokul Das’s production design give Kumari the necessary features of a chitrakatha (graphic story).

Jakes Bejoy’s background score blends well with the scenes but the tracks don’t stay with the audience. The use of Thyagaraja’s ‘Brova Barama’ (Am I such a burden?) in the scene where Kumari is sent off to her husband’s home after marriage is a brilliant work of creativity. But then the film has a dearth of such moments of creativity.

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• Shine Tom Chacko
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Kumari Movie Review: An impressively mounted creature feature

Rating: ( 4 / 5).

Those who felt alienated by the attempt at making a Hollywood-ised Malayalam action thriller in filmmaker Nirmal Sahadev's debut, Ranam , should find the relatively more grounded setting of his second feature, Kumari , more comforting to their sensibilities. If the two films are placed next to each other in front of someone who has no clue as to the person who directed it, there is a chance they might get surprised at being told it's the same person. Ranam was on par with a Hollywood film in terms of technical finesse. I don't know the complete story behind its making other than the information that the Prithviraj-starrer was supposed to look way more ambitious, a plan eventually curtailed by budgetary constraints. 

However, Kumari gives the sense that Nirmal and his team got to exercise their creative freedom in a way they couldn't on Ranam . I say this because Kumari seems -- to me at least -- a more wholesome work. Beginning with the voiceover opening narration that sets up the back story for the whirlpool of events about to unfold, Kumari engaged me through the ferocious climactic battle between -- well, I'm not going to spoil it for you.

Director: Nirmal Sahadev

Cast: Aishwarya Lekshmi, Shine Tom Chacko, Giju John, Tanvi Ram, Swasika, Shruti Menon, Surabhi Lakshmi

Powered by a heavily folklore-influenced narrative that bears elements of a gothic horror story or a monster feature, Kumari is one of those films with all its departments well-balanced. There is no attempt from one to overshadow the other. I see Aishwarya Lekshmi's titular protagonist as a Malayali version of the main character from Daphne du Maurier's Rebecca simply because she is married off to a family tormented by a dark history. When Kumari first arrives at the front gate of her spouse Dhruvan's (Shine Tom Chacko) ancestral mansion, it is nighttime, and the place, although abundantly lit, exudes an air of menace. And once you realise that this is the same place where something terrible happened a while back -- an incident depicted in the film's prologue -- you anticipate many chilling eventualities. It's just another patriarchal household where newlywed women get a warm welcome and have no clue about the overwhelming darkness that will soon engulf them. 

Interestingly, Kumari -- which swirls around dark magic and chathan seva (demon worship) -- comes out at a time when another film based on Hindu myths and rituals ( Kantara ) is running in theatres, aside from the fact Kerala recently witnessed an extremely unsettling case of human sacrifice. Kumari 's central idea fits comfortably in the numerous scary stories our mothers and grandmothers had narrated to us. Some of us grew up believing them, while others grew up to realise that they are just stories. I belong to the latter. (Yes, one can be an atheist and still enjoy these stories.) And Kumari is a very effective one at that. It's rich with details, revealing more intriguing characters and back stories as it progresses. 

Take, for example, the whole subplot involving Giju John (playing Shine's cocky elder brother), his wife (Swasika), and his paramour (Shruti Menon). The entire thing has a Shakespearean flavour. Shruti doesn't show up often in the film, but her Lady Macbeth-like influence becomes responsible for a fair amount of damage later on. While on Shakespeare, Shivajith Padmanabhan, who starred in Jayaraj's Malayalam adaptation of Macbeth ( Veeram ), makes a small but crucial appearance while Tanvi Ram plays his doomed spouse. In the meantime, we get a Vidheyan-like oppression angle with farmers reliant on the mercy of the elite. 

Interestingly, we find subservient characters even in the upper-caste household, which includes Dhruvan. When we first meet him, he is seated on the floor next to his father's feet. He is like a pet that, one fine day, becomes its owner's pride after the latter realises that it can produce an heir -- in this case, to continue the legacy of the tharavadu. But every male character in Kumari who believes he is in charge becomes as vulnerable here as the powerless, given the presence of sinister forces in the background.

But Kumari is ultimately driven by the tumultuous conflict between Dhruvan and Kumari. Shine demonstrates yet another delightfully bizarre turn that doesn't strike one as repetitive. The actor employs his entire physicality to produce a performance that evolves from timid and tender to deranged and violent. His aberrant behaviour gets a backstory that's not entirely clear. That's where one of the minor quibbles I have with the film lie -- the incoherent delivery of some of Shine's dialogues. I wonder if it's deliberate -- you know, to add a sense of mystery? Is this approach similar to what Christopher Nolan did with Tom Hardy in The Dark Knight Rises? 

On the other hand, Aishwarya lends Kumari the necessary amount of grace, adventurous spirit, maternal traits, and steely determination. I liked how the melodrama is kept to a bare minimum, even when she encounters the most tragic circumstances -- and this is a story with enough scope for melodrama; fortunately, the team behind the film seems to have a clear idea of where to draw the line. Aishwarya's is not a performance marked by excess theatricality, unlike that of Shine, for whom it makes complete sense. I cannot imagine anyone else in Dhruvan's role now. 

I must also add that it was refreshing to see Rahul Madhav playing a good guy for a change. The staging of his final confrontation with Shine is sufficiently intense. And Surabhi Lakshmi is nearly unrecognisable in a performance that oscillates between chilling and motherly.

As with Ranam, the most impressive aspect of Kumari is its visual texture heavy with ominous foreboding. Cinematographer Abraham Joseph's painterly frames, which chiefly rely on available light, recall the work of Santosh Sivan in Perumthachan or John Alcott in Barry Lyndon. Gokul Das' art is devoid of gaudiness. Jakes Bejoy's background score is quite effective except in that underwhelming introductory song with Aishwarya. I must credit Sreejith Sarang's seamless editing for ensuring that I was not bored even for a second throughout the film. 

The special effects-heavy finale is reminiscent of the impressive B-movies of the 80s, particularly that of John Carpenter, of whom I'm a huge fan. The choice of revealing the monster(s) only in the third act follows the tradition of Steven Spielberg ( Jaws ) and Ridley Scott ( Alien ). 

In escapist stories of such nature, I always seek that immersive, time-travel-like experience, which is just what I got from Kumari.

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• What is the release date of 'Kumari'? Release date of Aishwarya Lekshmi and Shine Tom Chacko starrer 'Kumari' is 2022-10-28.
• Who are the actors in 'Kumari'? 'Kumari' star cast includes Aishwarya Lekshmi, Shine Tom Chacko, Swasika and Surabhi Lakshmi.
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Kumari Movie Review, Cast, Collection, Crew

By sayyed ayan

Updated on: October 9, 2023

Table of Contents

Kumari Movie Review, Cast, Collection, Crew – “Kumari” is a 2022 Indian Malayalam-language mythological fantasy film directed by Nirmal Sahadev, featuring Aishwarya Lekshmi in the titular role. The film delves into the realm of ancient legends, superstitions, and human sacrifice, intertwining myth and reality to create a mesmerizing narrative.

Kumari Movie Story Pagalmovies

The film opens with a grandmother narrating an ancient tale to her grandchild, setting the stage for a story that blurs the lines between gods and humans. According to the legend, a goddess once descended to Earth and was captivated by its beauty. She chose to stay, marrying a mortal man and bearing two children, Chathan and Gari Devan . These offspring possessed powers beyond that of humans but were neither gods nor mortals. Their perpetual conflict led to the devastation of the planet.

To appease the goddess, Chathan was imprisoned in the mountains, and Gari Devan was buried beneath the land. Human beings began worshipping them, recognizing their immense power as a means to improve their lives.

The narrative shifts to a village where Thuppan, a conservative landlord, cruelly discriminates against the lower-caste inhabitants. Chokkan, a young orphan, secretly provides food to Chathan in exchange for valuable gems. Thuppan’s compassionate wife, Nangakutty, befriends Chokkan, but an inadvertent act—Nangakutty eating mangoes from the forest—triggers a chain of events. Thuppan, feeling impure, seeks purification through a ritual bath, leading to a confrontation with Chokkan, culminating in the young boy’s tragic death.

Chathan’s wrath is invoked, resulting in a rain of rocks and a deadly disease that afflicts Thuppan. Desperate to lift the curse and protect his people, Thuppan seeks the intervention of Gari Devan.

Twelve generations later, Kumari, an orphan raised by her uncles and brother Jayan, marries Dhruvan, a mentally unstable descendant of Thuppan’s lineage. Her family opposes the union, fearing the family’s dark history. Kumari, curious about the Illimulam forest and influenced by Chokkan’s memory, defies tradition and enters the forest.

There, she encounters Muthamma, who reveals that Kumari carries a child destined for danger due to Dhruvan’s lineage. Muthamma instructs Kumari to meet her across the river, promising to take her to Chathan for protection. Terrified, Kumari returns home, and her pregnancy is confirmed. However, her family’s reaction is far from joyful, revealing ominous secrets about the family’s legacy.

Kumari realizes that Dhruvan, driven by power ambitions, is not mentally ill but neglected by his family. She begins to care for him while her brother-in-law, Achyuthan, engages in an extramarital affair with a woman named Parijatham, who stokes his desire for authority in the village.

As Kumari’s pregnancy progresses, she becomes increasingly isolated within her own family. Lakshmi, her sister-in-law, reveals the family’s dark past: twelve generations ago, Thuppan had sacrificed his own son to Gari Devan to appease the goddess. This sacrifice, coupled with Gari Devan’s protection, was intended to last for twelve generations, placing Kumari’s child in peril.

Kumari’s distress intensifies, especially when she realizes that Dhruvan may be compelled to continue this dark tradition. Lakshmi explains that the men in her family would go to great lengths to uphold their power and traditions. She also reveals that Thuppan, burdened by guilt, has been alive in the attic for the past twelve generations.

Devastation strikes when Velyachan, a family member, witnesses Lakshmi divulging secrets to Kumari and kills her. Distraught and trapped, Kumari turns to Thuppan, who urges her to pray to the goddess, Nangakutty, whom he had previously ignored in favor of Gari Devan. Kumari discovers an idol of the goddess along with a dagger in her house, echoing her nightmares.

Kumari gives birth to a healthy boy but fears Dhruvan’s intentions. Dhruvan, determined to uphold the family’s tradition, takes the child for sacrifice, leading to a climactic showdown. With Chathan’s intervention and Kumari’s determination, the cycle of sacrifice is broken, and Kumari saves her child.

Years later, Kumari, now the landlady, looks after the village, revealing that the child listening to her story at the beginning is Dhruvan’s son. The film concludes with the boy spotting Chokkan in the forest.

Kumari Movie Review Tamilrockers

“Kumari” takes the audience on a mesmerizing journey through the intricate tapestry of myths, legends, and human superstitions. Directed by Nirmal Sahadev, the film artfully blends elements of fantasy and reality, crafting a narrative that keeps viewers engaged from start to finish.

The film’s visual aesthetics, crafted by cinematographer Abraham Joseph, create a world that is both enchanting and mysterious. The use of light and color adds depth to the storytelling, immersing the audience in the mythical universe of Kumari. The crisp editing maintains a smooth flow throughout the movie, allowing the narrative to unfold seamlessly.

Aishwarya Lekshmi delivers a commendable performance in the titular role. Her portrayal of Kumari captures the character’s range of emotions, from happiness and confusion to fear and bravery. However, the film’s climax presents a challenge for her, and some viewers may find it slightly lacking in intensity.

Shine Tom Chacko and Surabhi Lekshmi also deserve praise for their performances. Shine’s transformation from a submissive young lad to a dreadful and power-hungry occult practitioner is captivating. Surabhi’s portrayal of another occultist is mesmerizing, making her character both intriguing and believable.

While “Kumari” succeeds in creating an enchanting world and engaging storytelling, it falls short in some aspects of its narrative. The story’s regressive and old-school elements raise questions about the portrayal of gender roles and the perpetuation of stereotypes. The film missed an opportunity to challenge and rewrite these narratives.

Furthermore, the film’s depiction of human sacrifices and child sacrifices as offerings to please gods remains alarmingly relevant in contemporary India. The presence of such practices in the real world underscores the need for responsible storytelling that addresses and challenges such issues.

In conclusion, “Kumari” is a visually stunning and thought-provoking film that blurs the lines between myth and reality. It captures the essence of ancient legends and superstitions while offering a cautionary tale about the dangers of blind faith and tradition. As viewers embark on this mystical journey, they are reminded of the power of storytelling to shape beliefs and perceptions, leaving them with a renewed appreciation for the stories that have shaped their own lives. It’s a film that invites reflection on the narratives we inherit and the narratives we choose to rewrite.

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Is Kumari a horror story?

No, “Kumari” is not a horror story. It is a mythological fantasy film that explores themes of mythology, superstition, and human sacrifice. While it has elements of suspense and mystery, it is not classified as a horror movie.

Is Kumari a true story?

No, “Kumari” is not based on a true story. It is a work of fiction that weaves together elements of mythology and folklore to create its narrative. The characters and events depicted in the film are products of the filmmakers’ imagination.

How scary is the Kumari movie?

“Kumari” is not primarily a horror film, so it is not known for being particularly scary. However, it does contain elements of suspense and tension, especially in certain sequences where the characters confront supernatural forces. The level of fear or unease experienced by viewers can vary depending on individual preferences and sensitivity to such themes.

What is the movie Kumari about?

“Kumari” is a Malayalam-language mythological fantasy film that tells the story of Kumari, a woman who marries into a family with a dark history of human sacrifice to appease supernatural beings. The film explores themes of tradition, superstition, and the consequences of blind faith. It follows Kumari’s journey as she discovers the secrets of her family’s past and tries to protect her child from a dark ritual while challenging the traditions that have haunted her lineage for generations.

sayyed ayan

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Kumari Reviews

No All Critics reviews for Kumari.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, the guru from new jersey.

Now streaming on:

A documentary featuring Vikram Gandhi , Purva Bedi and Kristin Calgaro .

Growing up in New Jersey, Vikram Gandhi was a typical American kid who resented the way his family tried to enforce Hindu beliefs and practices. He found it ironic that Americans began to popularize gurus and yoga just at the time he was growing away from such things. On a trip to India, he says, he found that "real" gurus were no more real than the American frauds who copied them.

That led him into the deliberate deception that he filmed in "Kumare." He grew a long beard and a pony-tail, exchanged his shoes for sandals, switched his slacks and suits to flowing orange robes, and started carrying an ornate walking stick. Then he moved to Arizona, hired an expert to teach him yoga and a PR woman to promote him as a guru, and began to attract followers in meetings at shopping malls, community centers and around the swimming pools of his affluent clients. His accent was modeled on the way his grandmother spoke English. His teachings were deliberate gibberish: talk of inner blue lights, "finding the guru within," and chants of fabricated mantras.

At this point in the film, it takes an odd turn. Kumare's followers believe him without question. They share their deepest secrets with him and visibly appear to benefit from him. These people are not dummies. Mostly middle-aged, they take their health seriously, are somewhat skilled at yoga and follow schedules of meditation. "Kumare" seems to establish that a guru can be a complete fraud and nevertheless do a certain amount of good, because what matters is not the sincerity of the guru but that of his followers.

Gandhi seems typecast for the role of Kumare. Tall, thin, bending forward to listen better, he speaks warmly and encouragingly, and makes deep eye contact. He smiles easily. He never pushes too far. He seems as real as any guru and more real than some. His teaching of yoga seems within the ability of his followers to accomplish. He narrates the documentary (in an ordinary American voice), introduces us to followers he's grown close to, and begins to believe he may have started something that was out of his control.

He tells his followers the time has come for him to leave them. Now they are on their own. He returns to New Jersey, cuts his hair, shaves his beard, and begins to practice a speech in the mirror: "I am not who you think I am." Whether he ever says this, and how the movie ends, I will leave for you to discover.

It seems to me that "Kumare" reflects a truth that is often expressed in three words: "Act as if." If you can act as if something is true, in a sense that makes it true. It doesn't matter if a teacher's spiritual teachings have any basis. It doesn't matter if the supernatural even exists (Gandhi believes it does not). His followers benefit by acting "as if."

When I first heard this film described, I assumed it would be a satirical, snarky comedy like Sacha Baron Cohen's "Borat." Not so. Gandhi seems to be essentially a good man, and he learns things of value to himself in his experiment. In a sense, the deception he practices on his followers is contemptible, but in another sense, they're all in it together. The film's implication seems to be: It doesn't matter if a religion's teachings are true. What matters is if you think they are.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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'Kumari 21F' Review: Bold Kumari

Movie: Kumari 21F Rating: 3/5 Banner: Sukumar Writings Cast: Raj Tharun, Hebbah Patel, Noel, Hema, and others Dialogues: Potluri Venki Music: Devi Sri Prasad Cinematography: R Rathnavelu Editor: Amar Reddy Story, Screenplay: Sukumar B Producers: Vijaya Prasad Bandreddi and Thomas Reddy Aduri Directed by: Surya Pratap  Release Date: November 20, 2015

Leading director Sukumar turning producer to make concept based movies with upcoming talent was welcomed by all in the movie industry. His first movie Kumari 21F starring Raj Tharun who has given two hits in a row has generated great expectations.

The promos have connected with the youth. So has the movie met expectations?

Story: Kumari (Hebbah), a model working in ads and films, is a bold girl who comes to Hyderabad from Mumbai and lives in a middle-class colony with her ailing grandfather.

The local boy Siddhu (Raj Tharun), who aspires to settle in Singapore as chef, meets her accidentally one night. On the very first meet, she proposes him and kisses him.

Siddhu lives with his mother as his father left her for another woman. In the beginning, Siddhu likes Kumari's boldness but due to his three friends who are rowdies and also petty thieves, he doubts Kumari's character.

A girl who is model and bold can be virgin, can she not have romantic past with others, he starts doubting. Further, she rejects his love saying he has not matured enough to love her. What happens then? How does Siddhu cope with this?

Artistes’ Performances: Raj Tharun who has already proved his acting skills in his last two movies comes up with another good performance. 

But the film belongs to Kumari played by Hebbah Patel, she is very bold in appearance and also has good acting skills. As mischievous girl with modern outlook, Hebbah gives her best.

Hema as middleclass mother has done neat job. Among the bad boys, Noel gets noticed. 

Technical Excellence: Rathnavelu's terrific cinematography and Devi Sri Prasad's trendy music are the major assets to the movie. Rathnavelu has filmed the story so beautifully.

Video: Watch Kumari 21F Public Talk

Devi Sri Prasad's songs as well as the small musical bit that is used through out the movie are good. Art work, editing and production values are competent. 

Highlights:

• Different concept
• Songs and Visuals
• Good performances
• Second half
• Adult content
• Some scenes are too awkward

Analysis: Sukumar, the writer, has always picked up unusual storylines that are quite different from the regular setup. Though he has not directed this movie, as writer of the movie he does the same - taking up a bold concept. The story as well as the screenplay is quite different from the regular style with very bold content.

The movie questions the very attitude of a girl being judged on her dressing and her free-mingling nature. Why should a girl not have a past, past is past, love the girl for how she is behaving with you at present, says the movie's heroine.

The hero is representative of most men who wants his lover be a 'virgin'. Conflict of these ideologies is presented by Sukumar in his quirky and daring method, which some may digest easily and it might not go well with others.

Starting off as adult teenage love story with loads of dialogues on female body and sex, the movie slowly picks up the momentum post interval and ends up as completely different matured story. The beginning of the movie is too bold, but the reason for the heroine's behavior is explained later as the movie progresses.

Like the title it is all about Kumari, the team has selected right girl. Hebbah has given her best. With performances, good technical values and daring content, Sukumar has presented Kumari 21F. The movie has stamp of Sukumar than the director Surya Pratap.

The story is set in a lower middle class colony of KGB and the story traces the love story of a boy and girl who are residents of that colony. It also shows the various problems or twists and turns such love stories can have due to the environment that they are in and the kind of people they interact with on a daily basis. In short, apart from their feelings, they also have to deal with a lot of other influences and Sukumar’s latest story highlights this aspect.

First half is more of fun but the real content lies in the second half and the climax part is interesting but it has downsides too.

At times the movie also leaves in you in confusion as one is unable to decipher what the movie is trying to say as many contradictory statements keep coming in.

Sukumar has given some classic touches to the script that takes it to another level and makes you forget all its shortcomings. There is a sub plot of hero's parents broken marriage that was later used for the realization of hero. That is executed superbly and no one can give a better ending than this. Sukumar has excelled as a writer in giving perfect ending to Kumari.

All in all, Kumari 21F will connect with youth and the people who like to see bold content. This attempt is quite unusual.

Bottomline: Different Attempt

(Venkat can be reached [email protected] or Twitter )

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