The Blog That Writes Me

When I began writing I thought of blogs as pages filled with my thoughts. I believed I was the one in control by deciding what to say and how to say it. Yet as I look back at the long trail of blogs, I begin to wonder if it was never just me shaping them. Perhaps the blogs have been shaping me all along.

Each time I wrote I put a part of myself on paper and each time I finished a part of it remained within me. Some blogs made me face truths I had avoided, while others forced me to question what I thought I already knew. Slowly without realizing I began to live with those questions even outside the page.

There were days when I struggled to find a topic, but the act of searching itself opened doors I would not have noticed. A casual observation became a thought then the thought became a paragraph and the paragraphs turned into a blog. By the end of writing I would find myself not the same as when I started. 

And after two hundred blogs, I realize that these are not just records of what I thought at a certain time. They are teachers. They have taught me patience when I struggled to finish, honesty when I was tempted to soften the truth and courage when I feared how my words might be taken. 

If I had not written I would have been someone else. Writing has not simply been a habit. It has shaped my identity, as much as my choices and my journeys do. I thought I was writing to preserve my voice but in truth, the voice I have today was carved by the very act of writing.

So the question is no longer about what I have written. The real question is what writing has written into me.

Soothravakyam Review

Soothravakyam released under the direction of Eugune Jos. The film stars Shine Tom Chacko in the lead along with Deepak parambol, Divya Nair, Vincy and co. The film promised a different take on a crime investigation drama and came with the usual Malayalam authenticity.

The plot is indeed different but it could not hold its grip for long. Till the interval the pace is slow but not boring. After the break it picks up and finally settles with an emotion towards the end. The plot line is not that interesting. There is not much of an investigation happening except for a few moments. The crime is in plain sight. While it brings a bit of suspense the depth is missing.

The acting holds the film together. A few extra characters were poorly cast and acted lousy. But the core cast delivers strongly. Shine Tom Chacko especially takes on a different sort of role in his career. A serious fun type that works well. The supporting cast supports where needed.

On the technical side the cinematography is good just like in other Malayalam films. It has the natural look and authenticity. Costumes, lighting and locations stay grounded and real. But a core scene is missing. An important moment is never shown and only told later. That hurts the impact. The screenplay is the weak link. Certain characters are poorly written. A few scenes happen without explanation. The writing loses grip in crucial places.

The music and background scores are a major strength. The bgms brings intensity to the film. They were well done. The songs also conveyed story in parts. Using songs as a storytelling tool is a smart move and it worked here.

So what makes Soothravaakyam a decent watch and not a great one is its genre. It is yet another usual crime investigation, but loses grip here and there. Not much of the investigation is shown. Most of the film moves through dialogues rather than scenes.

Overall it is a decent watch.

Rating: 6/10⭐️

Between Correction and Compassion

Life often puts us in situations where there is no clear right or wrong answer. There are choices that lean towards fairness and justice while others lean towards kindness and compassion. Both paths have their own burden and neither is easy to ignore.

Take a simple example. You sit in a restaurant and the dish placed before you has too much salt. If you let the chef know, it gives them a chance to correct it and improve the dish for future customers. Feedbacks when shared politely can sound less like criticism and more like a suggestion that helps. Yet you might also choose to quietly finish the meal without saying a word because you do not want the chef to feel embarrassed. Both choices can be defended and both has a sense of good intention.

The same conflict plays out in daily life. When a friend, a colleague or a family member makes a mistake, telling them directly might prevent the same error from happening again. Imagine your mother serves you food and it does not taste the way it usually does. Do you mention it and risk hurting her feelings even though she has cooked with care or do you quietly eat it so that her effort remains appreciated?. Silence spares feelings and avoids an awkward moment, while speaking up shows honesty yet risks being taken as harshness.

The heart of the dilemma is that both honesty and kindness claim moral ground. Neither action is wrong, but the value of each depends on the moment in which it happens. What feels right in one situation may feel unkind in another. This is why the struggle never truly ends. Choosing fairness can sometimes come at the cost of warmth. Choosing kindness can sometimes come at the cost of truth. Each decision forces us to see what matters more in that moment, is it the chance to correct or the chance to comfort.

There is no final rule that fits every situation. The choice rests with the one who faces it and the meaning of right changes with intention and circumstance. Which brings us back to the question that : if faced with this choice, which one would you choose?

Heart That Forgives

Disagreements are part of life in every household. Even the closest relationships encounter moments of tension over small matters. Yet some bonds remain firm. The next morning mom places breakfast on the table as if yesterday never existed. In the evening dad brings snack, a small gesture that says more than words ever could. Past quarrels disappear and love appears again as if nothing had happened.

In the world outside home one may not find this patience. Minor inconveniences or misunderstandings can end connections. Even the slightest difficulty prompts people to move away from one another. Emotions are scrutinized and the errors from past are used to justify the distance. 

On the other hand parents follow a different path. Disputes do not change their approach. They do not withhold care or expect an apology. They move through conflict with patience and offers warmth again without hesitation. This shows a fundamental truth about human bonds. While many interactions depend on give and take. They do not rely on apologies or the passage of time. Ordinary gestures like offering food or a thoughtful word, holds meaning.

In a reality where minor inconveniences or misunderstandings can end connections, this 

love is remarkable. And yet despite its simplicity

it remains almost mysterious. How can this love manifest so fully without reason?

Lets Save Fur Babies

Lets save fur babies because kids today hardly get enough outdoor adventure. What is a trip to school if not being chased by a pack of strays at seven in the morning. Add in the bonus of injections and trauma, and childhood suddenly looks so exciting.

Lets save fur babies because riders on two wheelers need challenges. Straight Smooth (Indian) roads are too boring. A dog sleeping in the middle of the highway or sprinting across the road is the perfect obstacle course. Some even get to skid into hospitals. Truly the perfect way to do a practical crash test.

Lets save fur babies because food/product delivery guys have it way too easy. Balancing ten orders on a bike through traffic is child’s play. But imagine the thrill of a barking stray lunging at you when you are already late. Customers may curse for cold food, but hey at least the Fur baby had a good time.

Lets save fur babies because people walking at night should not feel safe. Because seriously what is democracy. Empty streets should only mean silence and calm. But with stray dogs, a simple walk home feels like a thriller. Adrenaline pumps, heart races and every shadow looks like trouble. Night walks turn into horror shows, all thanks to fur babies.

Lets save fur babies because travelers deserve souvenirs. Pictures and memories are not enough. A bite mark or scar on the leg is more permanent. Forget magnets and keychains. Stray dogs give you token of love that never fade.

Lets save fur babies because hygiene is overrated. Streets without dog feces would look too dull. Sidewalks decorated with feces add character to the neighborhood. Fleas and ticks wandering around are nature’s reminder that sharing is caring. Who wants sterile clean surroundings when fur babies can enrich the environment.

Lets save fur babies because grandparents love company too. After all what is a peaceful evening walk to the corner shop without the thrill of escorts. The shaky legs need a bit of cardio and nothing builds bone strength like dodging dog bites. Why settle for peace of mind when survival instincts can keep them young.

Lets save fur babies because garbage bins are too neat. Leftovers should be scattered around for that AESTHETIC city look. Plastic bags flying, bones tossed across the road and dogs tearing apart waste shows us what urban life truly is.

Lets save fur babies because life without constant fear is bland. Who wants children cycling peacefully, workers reaching home safely or tourists enjoying the city calmly. 

Because Peace is boring and Chaos is culture.

Coolie Logics: Is it bad?

Spoiler Alert

This discussion contains details from the movie Coolie. Read at your own discretion.

Coolie arrived with huge expectations because of Lokesh and the image he has built over time. Once you look beyond the surface, the film begins to unfold with loopholes that question its very foundation.

The central idea of the film itself is flawed. Rajasekar played by Sathyaraj is drawn into Simon’s world for the cremation process using an electrocution chair that instantly turns humans to ashes. The film stresses that this invention is crucial because the villains need a way to kill and dispose of bodies without the police finding out. 

Yet throughout the narrative the police are never shown as a threat. They do not intervene. They do not investigate also no action from their side is portrayed. Also Simon, a ruthless villain who could have used many other ways to dispose the bodies, but the film insists on this one machine. That insistence feels random.

The problem deepens as the film progresses. After this supposed need for disposing bodies without cops knowing, Coolie, Dayal and Simon continue to kill openly and repeatedly. Bodies fall everywhere yet still no police presence. If the story began with a villain’s fear of being caught for killing people and wants the cremating chair, why overlook that fact completely as the plot moves forward.

Another inconsistency is Rajasekar being projected as the only person who can operate the machine. Later Kalyani an undercover cop uses it to kill a person with ease. No justification is offered in that. It is just a matter of pulling levers yet the film builds its premise on the idea that only Rajsekar could do it. This also questions the very reason why Preethi was introduced into Simon’s world.

Rajasekar’s death is another point left unaddressed. The film shows that he was killed by Dayal when he tried to find some documents. But how and why did Rajasekar suddenly become aware of an underground deal. What drove him to collect the files. Why did Dayal abruptly kill him. None of these are explained leaving the audience with unanswered questions.

Preethi’s escape sequence is equally weak. Deva video calls her and instructs her to wrap the chain around Dayals neck and hands, after that she simply walks away. She could have tied him down which might have slowed him or at least attempted to resist but the film conveniently skips logic. This leads to another inconsistency. During that scene Preethi watches as Deva threatens Dayal by showing Kalyani on the call. But later when Preethi meets Kalyani outside the train she behaves as if she knows nothing and follows her unquestioningly.

Soubin’s character killing Arjun is another unnecessary act. He video calls Simon and executes Arjun but he demands nothing in return. The act adds nothing except an attempt at creating tension. It mirrors the earlier unexplained killing of Rajasekar again leaving viewers with questions rather than answers.

This brings us to the most important question. What is the story. The film begins with a cremation machine, then shifts to watch smuggling, then Dayal’s greed, then revenge for a friend, then labour disputes, then organ trafficking, then a flashback, then the mystery of Preethi. What thread should the audience follow. The narrative keeps jumping from one point to another without any clarity.

The antagonist Simon is another weak link. He is introduced as ruthless but spends the entire film believing anyone who offers him help. First Dayal then Deva. Both betray him. A powerful villain becomes an easily deceived pawn. Once the antagonist is weakened the film itself loses the grip.

The cycle of revenge also becomes absurd after a point. Deva seeks revenge for Rajasekar. Simon seeks revenge for Arjun. Dahaa seeks revenge for Simon. One death leads to another revenge arc endlessly. This pattern makes the plot feel generic.

So why bother with all these details if it is a commercial film. The answer lies in the director. Lokesh has built his reputation on combining commercial elements with logical progression and carefully thought out details. That is why the gaps in Coolie feel more absurd. Expectations amplify the flaws.

But does it mean the film is unwatchable. Not quite. If one walks in without expectations without the baggage of Lokesh’s name, Coolie is still a watchable film. It has energy, it has moments and for someone detached from the hype, the loopholes may not bother as much. The issue is not just that the film fails but that it fails under the shadow of what Lokesh has delivered before.