Cast: Jayaram, Urvasi, Mamta, Bheeman Raghu, Johny, Tom Jacob, Harisree Ashokan, Cochin Haneefa, Indrans, Kalasaala Babu, Sudheer, Sukumari, Vijayakumari 
Direction: Rajasenan 
Production: Samad Mankada 
Music: Girish Puthencherry, Kanesh Puthuram 

 

 
Madhuchandralekha - Jayaram shines 

Madhuchandralekha, let’s be clear, is a few decades late. It is a rehash of a movie that has done its round in Tamil, Telugu and Hindi. And the theme itself has little relevance to the contemporary millieu. Though director Rajasenan has made some modifications to the original story, the film lacks the fibre and firmness to stand on its own. The only saving grace in the film is the splendid and understanding performance of Jayaram. He gives the film the much-needed support. And were it not for him, the movie would have been insufferable. 

The story revolves around Chandramathi (Urvashi), the coarse, slovenly, oily character. Chandramathi has a clutch of equally coarse brothers and grandma. Chandramathi falls for the suave charm of Madhavan (Jayaram). Madhavan is forced to marry her despite his reservations. Madhavan, who is a music teacher, ends up as a playback singer after his marriage. Madhavan and his kids put up with Chandramathi despite her irritating clumsiness just because Madhavan thinks she is the reason for him making it to the top.

But things seem to go out of hand when Indulekha (Mamta) enters the scene. For some reason, Chandramathi wants Indulekha and Madhavan get married. Why? Well, there is a bizarre reasoning. But it is all too tepid and warped.

Urvashi, though slightly over the top, is the only person who could have played this role (In fact, she did in the Tamil equivalent too). But it is Jayaram, as the understanding husband who tolerates the strange ways of his wife, is first rate. His underplayed emotions give the film a veneer of acceptability. In terms of looks too, Jayaram also comes across fresh. 

The others in cast have just walk-in parts. Mamta oozes charm.

Jayachandran’s music is lilting and soothing.

Rajasenan’s direction is okay. But it is the story that is a major let down.