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Stand Up Review: Vidhu Vincent walks the talk in this hard-hitting film!

‘Stand Up’ starring Rajisha Vijayan and Nimisha Sajayan in the lead roles has hit screens today. The film is directed by Vidhu Vincent, who is the only Kerala State Award winning woman filmmaker. This sophomore effort of her is scripted by debutant Umesh Omanakuttan and produced jointly by B Unnikrishnan and Anto Joseph.

First things first, ‘Stand Up’ is not a fun, feel-good comedy centred around the stand up comedy scene. Instead, the title has an inner meaning which sounds apt for the film. The film is structured in the form of a stand up comedy show hosted by Keerthy Thomas (Nimisha). It’s through her narration that the film moves forward. So basically, stand up is just a tool to narrate a story that’s very relevant and important in today’s times.

‘Stand Up’ has all the sensitivity of a woman filmmaker helming it. The issue of male gaze is negated and Vidhu has done extremely well to capture the trauma of women who suffer from abusive relationships. Along with that, the film also puts forward its criticism against the society’s narrow mindset, the importance of consent and how police and the system work according to the whims of influential people. The film does have a few loose ends and under developed characters but they make it up with a powerful third act, where it really gets into its elements.

Stand Up Malayalam Movie Review

‘Stand Up’ is backed by some solid performances and the stand out among them is easily Rajisha Vijayan. As someone going through an abusive relationship, Rajisha gets it spot on with her vulnerability and dilemma that she is constantly fixed in. The two lead characters – Dia and Keerthy have polar traits. While Nimisha’s Keerthy is a go-getter with a tomboyish attitude, Diya is more of a docile yet ambitious girl who is constantly pulled back by her affair with Amal. The film has some very disturbing scenes that’s never objectifying or voyeuristic. Rajisha holds these scenes together with her stunning performance that might move you to tears. She really gets to skin of the character and effectively conveys the hurricane of emotions that she is subjected to go through.

Venkitesh of ‘Nayika Nayakan’ fame plays another important character and the youngster is quite impressive. Arjun Ashokan, Divya Gopinath, Praseedha, Nisthar Sait, Junice, Jolly, Rajesh Sharma, Sethulekshmi and Sajitha Madathil have also done their parts well. Veteran Seema, who is making her comeback, has a brief role but still manages to make a mark with her dignified presence. Wish she had a proper rounded character. On the technical side, the screenplay goes back and forth but Christy Sebastian’s seamless editing holds the attention. Varkey’s music is in proper sync with the mood of the film and it’s another area where the film scores big time.

Director Vidhu Vincent is one of the biggest faces of the revolutionary WCC and is someone who has always voiced her concerns related to social issues. So, ‘Stand Up’, in a sense, is like her walking the talk. With a very relevant subject in hand, Vidhu treats it with utmost sensitivity and sincerity. The film will disturb you, move you to tears and eventually make you think. That’s the basic quality of a well-made film.

MOVIE RATING

• Direction - 8/10 8/10
• Artist Performance - 9/10 9/10
• Script - 7.5/10 7.5/10
• Technical Side - 7.5/10 7.5/10

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Stand up movie review: Rajisha Vijayan delivers her finest performance in this hard-hitting film

Rating: ( 3.5 / 5)

Given its title, some may assume the film is about stand-up comedians while others may think it has something to do with school days or women empowerment. This last would be accurate. So, in a way, the title is apt.

Nimisha plays a stand-up comedian, of course, but the film doesn't revolve around that aspect. Her character, Keerthi, is not the primary character but is essential to the narrative. Her stand-up routine is a means to discuss a serious issue, as we learn much later. Her relatives don't get this though. They think she is just another 'mimicry' artiste.

The film's promos have already made it quite obvious that something bad happens to one of the female characters. That character is Diya (Rajisha Vijayan). Her story is similar to Parvathy's character from Uyare , in that both are put through severe emotional and physical trauma by their terribly insecure and infuriatingly-possessive boyfriends. The only difference here is the nature of the violence committed against them. The central conflict arises out of the fact that Keerthi and Diya are friends and the perpetrator happens to be the former's brother.

How would a sister react to such a complicated situation? How would she deal with the parents, of both parties, who are eager to hush it up to protect their families' reputation? Both women are struggling to break free of the bounds of their patriarchal environments.

Director Vidhu Vincent adds some nice flourishes here and there. In one scene, a father tells his little daughter to not speak "when grown-ups are talking"; in another, Keerthi's mother is seen driving a car but is powerless in front of her husband. Talk about being selectively progressive. Keerthi detests this weakness: she wouldn't mind hitting her father back if the need arises.

But this is ultimately Diya's story. She not only has to deal with the after-effects of the trauma but also the uncomfortable ordeals at hospitals and police stations. A skillfully-staged medical examination scene shows how women can also be insensitive towards someone of their gender. And what about the cops? They won't establish it as rape unless the smallest, most irrelevant details are also shared. It's their idea of "entertainment."

This is one of those films whose second half is better executed than the first. The writing/editing in the first half is a mess. It's risky to show the characters' past, present, and future simultaneously without giving us any indication as to which is which. And some of the performances in the first half are unintentionally hilarious, courtesy one male actor. In a film dealing with such a serious subject, isn't it important to make sure the viewers are fully engaged?

But the film improves greatly post-interval, where, unlike the first half, our attention doesn't go in multiple directions. There is more control to be found in the plotting and editing, and the overall narrative structure begins to make more sense as you inch closer towards the finale. And Rajisha's brave and affecting performance provides the much-needed boost. It's undoubtedly her finest performance so far. This is a film that may require a trigger warning, but it's something that needs to be seen. It is disturbing, enraging and uplifting all at once.

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Stand-up Review: Essential Viewing On The Subject Of Sexual Assault, Let Down By Bad Execution

Director: Vidhu Vincent

Cast: Rajisha Vijayan, Nimisha Sajayan

Director Vidhu Vincent ‘s sophomore film  Stand Up  has a loud and clear political voice. The women in the film, everyone including sub-characters who appear in a passing shot, are bound by a thread of sisterhood.  Two friends, Diya (Rajisha Vijayan) and Keerthi ( Nimisha Sajayan ), hold hands and make a silent pact to stay close and fight a case of rape together in which the former is the victim and the latter, the kin of the rapist. A policewoman who is a strict taskmaster at work, feels a wave of empathy on seeing a gravely wounded woman on a hospital bed. A doctor strokes the hair of her patient, the rape victim, affectionately and kisses her forehead and assures that nothing has changed. A wife who has always stayed submissive to her rich and insensitive husband, shouts down him when he boasts about how he intimidated a young woman who had filed a sexual assault case against their son.

These women are divided by circumstances, but united by certain emotions, the primary one of being marginal in a world controlled by men.

But, but despite having a powerful stance on gender politics, this is a film that bears the brunt of being too perfect and politically correct. Vincent has a plot that ticks all the boxes that a film on the subject of sexual harassment demands. She hardly makes an effort to engage with the audience cinematically.

The crux of the problem is a serious lack of good writing. Every character is an example, and not really an organic part of the story’s course. The characterisations, relationship arcs and even the heartwarming sisterhood in the film are pitch-perfect and simplistic, sans any complexities or obscurities that make them real. “I am backing Diya because I am a woman,” announces Keerthi in style in a scene. But what about the emotional turmoil she undergoes when the people she has to fight is her own family? The film omits details of such struggles, perhaps because it’s easier and less complicated to narrate the story that way.

The cinematography – lensing, compositions, lighting and even the movement of the camera – is all over the place, barricading the viewer from feeling for the proceedings on the screen.

The constant undercurrent of political sloganeering robs the narrative of an organic flow. For instance, when Diya’s family is approached by her rapist’s parents, offering to take her in as a daughter-in-law, her father is delighted. You know the course of events that are to follow because every dialogue in this part reeks of cliches. Even the change of heart that he undergoes is depicted only verbally and not through a well-written scene that delves into his psyche.

There is a lengthy voice-over in a pivotal part in the film which belongs rather to a PSA video than to a feature film. The climactic part, where the women stand up for themselves and have the final victory over their assaulters, is shot in broad strokes, without a hint of cinema. Stand-up might as well be a bed-time storybook for young women on sisterhood, coming out of toxic relationships and fighting gender-based violence.

The opening scene, where Keerthi introduces her family to the audience in and outside the frame through a stand-up comedy performance, is a novel idea. But it falls flat because of its sheer lack of humour. Borrowing the shallowest trick up the sleeve of a stand-up comedian, Keerthi jokes about regional stereotypes (“post-sunset, the entire male community in Kottayam are sloshed, and that’s why Kottayam is the coolest!”) And there is a tonal mismatch in this part because she establishes her brother as an immature but loveable young man. But he is also the abominable villain in her story. Vincent designs this transition passably, without looking into the nuances of the societal conditioning that sanctions rape as a device to control women. And, strangely, the film almost never uses the word ‘rape’, and replaces it with the generic term ‘crime’.

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Not everyday does a film that talks about the experience of a sexual abuse victim come to our cinemas. Vincent succeeds in walking the audience through the pain – physical, emotional and psychological – that Diya suffers. You see her writhing in pain on toilet every morning, tremble when someone mentions her assaulter, and cry out helplessly on undergoing a medical examination. Rajisha Vijayan internalises Diya’s experience and performs the role with so much empathy and rawness. In spite of the many flaws, Stand Up is an important film that deserves to be watched for this empathy that it possesses and emanates.

The  Stand-Up review  is a  Silverscreen  original article.  It was not paid for or commissioned by anyone associated with the film. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

'Stand Up' review: Rajisha Vijayan powers this brave film

Given its title, some may assume the film is about stand-up comedians while others may think it has something to do with school days or women empowerment. The third would be more accurate. So, in a way, the title is apt.Nimisha plays a stand-up comedian, of course, but the film doesn’t revolve primarily around stand-up comedians. She is not the primary character, but Keerthi, her character, is essential to the narrative. Her stand-up routine is a means to discuss a serious issue, as we learn much later. Her relatives don’t get this though. They think she is just another ‘mimicry’ artiste.

The film’s promos have already made it quite obvious that something bad happens to one of the female characters. That character is Diya (Rajisha Vijayan). Her story is similar to Parvathy’s character from Uyare, in that both are put through severe emotional and physical trauma by their terribly insecure and infuriatingly possessive boyfriends. The only difference here is the nature of the violence committed against them. The central conflict arises out of the fact that Keerthi and Diya are friends and the perpetrator happens to be the former’s brother.

How would a sister react to such a complicated situation? How would she deal with the parents, of both parties, who are eager to hush it up to protect their families’ reputation? Both women are struggling to break free of the bounds of their patriarchal environments, and director Vidhu Vincent puts some nice flourishes here and there. In one scene, a father tells his little daughter to not speak “when grown-ups are talking”; in another, Keerthi’s mother is seen driving a car but is powerless in front of her husband. Talk about being selectively progressive. Keerthi detests this weakness: she wouldn’t mind hitting her father back if the need arises.

But this is ultimately Diya’s story. She not only has to deal with the after-effects of the trauma but also the uncomfortable ordeals at hospitals and police stations. A skillfully staged medical examination scene shows how women can also be insensitive towards someone of their gender. And what about the cops? They won’t establish it as rape unless the smallest, but irrelevant, details are also shared. It’s their idea of “entertainment”.

This is one of those films whose second half is better executed than the first. The writing/editing in the first half is a mess. It’s risky to show the characters’ past, present, and future simultaneously without giving us any indication as to which is which. And some of the performances in the first half are unintentionally hilarious courtesy of one male actor. In a film dealing with such a serious subject, isn’t it important to make sure the viewers are fully engaged?

But the film improves greatly post-interval, where, unlike the first half, our attention doesn’t go in multiple directions. There is more control to be found in the plotting and editing, and the overall narrative structure begins to make more sense as you inch closer towards the finale. And Rajisha’s brave and affecting performance provides the much-needed boost. It’s undoubtedly her finest performance so far. This is a film that may require a trigger warning, but it’s something that needs to be seen. It is disturbing, enraging and uplifting all at once.

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Stand Up (I) (2019)

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Stand Up Malayalam Movie

Stand Up is a 2019 Indian movie directed by Vidhu Vincent starring Nimisha Sajayan, Rajisha Vijayan, Arjun Asokan and Venkitesh V. P. The feature film is produced by Anto Joseph

Diya and Keerthi are friends. Keerthi is an aspiring Stand Up comedian and she is trying to find some opportunities for her shows. Diya becomes a regular presence in the Keerthi's friend's gatherings and through which she get introduced to Keerthi's brother Amal and his friends Jeevan and Sujith. Diya and Amal become lovers eventually. This changes everything for everybody in the group.

Director: Vidhu Vincent Producer: Anto Joseph Cinematographer: Tobin Thomas Editor: Christy Sebastian Art Designer: Arun Venjaramoodu Original Story Writer: Umesh Omanakuttan

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Stand Up Movie Review

Giridharan M

I am Giridharan Mallikeswaran, working a ...

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C AST & C REW

M ORE C AST & C REW

• Anto Joseph
• Music Director:
• Christy Sebastian
• Vidhu Vincent
• Supporting Actress:
• Nimisha Sajayan
• Praseetha Menon
• Divya Gopinath
• Sajitha Madathil
• Jolly Chirayath
• Costume Designer:
• Manjusha Radhakrishnan
• Art Director:
• Arun Venjaramoodu
• Sound Designer:
• Renganaath Ravee
• Bilu Padmini narayanan
• Director of Photography:
• Tobin Thomas
• Associate Director:
• Pooja Pradeep
• Vinu Varghese
• Visual Effects Producer:
• Still Photographer:
• Anu Pallichal
• Viju Antony Varghese
• Sanil Sathyadev
• Production Controller:
• Eldho Selvaraj
• Visual Effects Supervisor:
• Screenplay Writer:
• Umesh Omanakuttan
• Makeup Artist:
• Pradeep Rangan
• Post Production Supervisor:
• Visual Effects Artist:
• Thinesh Kumar
• Playback Singer:
• Sayanora Philip
• Rithu Vysakh
• Sruthi Philip
• Anne Amie Vazhappilly
• Production Executive:
• Radhakrishnan Chelari
• N Shanmuga Pandian
• Title Designer:
• Supporting Actor:
• Rajesh Sharma
• Seema Sasidaran
• Arjun Ashokan
• Nistar Ahmed
• Sunil Sukhada
• Rajisha Vijayan
• Venkitesh Ramakrishnan
• Sunil Sugatha

Keerthi, a standup comedian narrates her friend Diya’s story in one such show. How Keerthi decided to support Diya, who is a victim of an attack, forms the story.

Star Performances

Rajisha, Nimisha and Arjun Ashokan did their best.

With a simple story, the director had delivered a big message. Umesh should be appreciated for a wonderful story. The director had explained in detail about the present situation of the women, who had been attacked. The characters are dealt with more details. The stars fit well in the roles and impressed the audiences. Rajisha had excelled in the role and proved that she is a wonderful actress. The film is technically strong too.

What’s There?

• Script, screenplay and performances are good
• Women and their current problems are dealt with well
• The character selection is impressive

What’s Not There?

• A few errors, but nothing to be pointed out specifically

This is a perfect movie that has come at the right time. The film is definitely watch-worthy for the performances as well as the content.

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'Truly Malayali' is all about cracking the DNA of Malayalis: Stand-up comedian Sabareesh

Stand-up comedy is steadily gaining prominence in India, although it's still finding its momentum in Kerala. Yet, it's undeniably a moment. Sabareesh Narayanan, a stand-up comedian, is making waves in Kerala with his initiatives. Hailing from Kochi, this emerging talent has introduced his stand-up special, 'Truly Malayali,' on YouTube. In a recent interview with Onmanorama, Sabareesh shared insights into his special and his passion for stand-up.

Could you provide a brief overview of your stand-up comedy show? I've harboured a longstanding desire to bring to life a Malayalam stand-up special. From the very conception of this idea, I have intended to delve into a topic that sparks my curiosity—the essence of Malayalis, their nature, and what defines them. I yearned to explore beyond the surface, aiming to crack the intricacies of being a Malayali.

In this creative venture, I sought to address certain misconceptions and stereotypes surrounding Malayalis— like dispelling the notion that our culinary preferences revolve solely around porotta and beef. I aspired to present a nuanced perspective on what it truly means to be a Malayali. The realisation of this aspiration is 'Truly Malayali,' a project akin to peeling back the layers and exploring the very DNA that defines the Malayali identity.

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How did you decide to transform this entire concept into a stand-up performance? The main motivation behind it is that no one has previously transformed such a concept into a stand-up routine, exploring the nuances of Malayalis. I found this unique opportunity to explore the intricacies of our culture, and I thought, 'Why not give it a try?'

Could you share a bit about your journey thus far? I always wanted to do stand-up. Before diving into it full-time, I was working with an ad agency. The timing proved tricky, as I ventured on this journey right at the onset of the COVID-19 pandemic, causing a delay in my progress. The road has always been challenging and continues to be so.

Funding my first major project, my stand-up special, came from my pocket. In Kerala, the stand-up culture is gradually taking root, and being part of this transformative phase is both exciting and demanding. Opting for a 'pay what you want' model for my special adds another layer of complexity to the financial aspect, making it a formidable challenge. While launching my stand-up special is undeniably an achievement, the struggle persists for stand-up artists in Kerala.

You're performing in cities like Bengaluru and Kochi. Have you noticed a significant reception in cities in Kerala? Kochi has been a definite hotspot for Truly Malayali shows. The turnouts have been fantastic. It's not just Kochi; even in Bengaluru, the response has been overwhelming, with full houses becoming the norm. However, it's a bit different in terms of scale – hitting the 500-600 people mark might be a bit of a stretch.

Possibly, in Kerala, the culture is still settling in, and the younger crowd might not be as accustomed to it. Contrast that with Bengaluru, a city buzzing with talent similar to mine. Fingers crossed, as time goes on, we'll likely see those numbers on the rise.

You mentioned the 'pay what you want' model for your special. Could you provide more details on that? I learned about this model through various sources, and I noticed another artist using it as well. In Kerala, there's limited exposure to such unique projects, leading to confusion among people who wondered if it was a web series or a film. Due to delays, I opted for a pay-what-you-want model, and the response has been positive, with some even sharing personal notes. Essentially, it's a model where the audience watches the special and pays according to their preference—whatever amount they feel comfortable with. It's satisfying to see people contributing willingly to the show, making me happy without any pressure to pay.

Were you inherently drawn to performing, or did you experience stage fright before facing an audience? Absolutely. I had reservations, and fear was there, but my passion for performing always outweighed it. I'm not an extrovert by nature. My inspiration has always been Mr. Bean; Rowan Atkinson was a stand-up comedian in his early career. Initially, my attempts at stand-up didn't quite succeed, prompting a year-long break before I returned. Now, my main concern is whether the jokes I write will resonate with the audience—that's something I'm particularly curious about.

How smooth or challenging is it to keep the audience engaged during your stand-up comedy performances? Every artist aspires to evoke genuine laughter from their audience. While comedy is inherently subjective, it's crucial to engage in activities you genuinely enjoy to sustain a career in humour. Constantly pursuing what you believe makes audiences laugh may not always yield success. Many individuals tend to replicate similar content, such as observations about neighbours or family reactions. In contrast, I chose not to confine myself to those ​boundaries. My goal is to explore a broader spectrum. This is my perspective, which may or may not resonate with everyone. Nevertheless, I strive to create work that brings me joy and curiosity.

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Bigg Boss Malayalam 6 Week 9 Double Elimination: Two Contestants Evicted

By Rohan Verma

The recent twists and turns in Bigg Boss Malayalam Season 6 have kept viewers on the edge. In week 9, an unexpected double-elimination element adds an extra layer of entertainment and suspense among viewers. The nomination list included Jinto, Sreethu, Sijo, Apsara, Nandana, Sreerekha, and Saranya. With seven contestants up for eviction, tensions are running high among the housemates and viewers.

Recently, Bigg Boss transformed the house into the Bigg Boss Hotel and assigned contestants various roles, including hotel manager, staff, and entertainer. Additionally, contestants from previous seasons are entering the house as challengers. This change quickly grabbed the audience’s attention and became an entertaining segment of the reality show.

Bigg Boss Malayalam 6 elimination: Saranya & Sreerekha gets evicted

During the latest Bigg Boss Malayalam Season 6 episode, host Mohanlal put Apsara, Jinto, Sreethu, Sijo, and Sreerekha on the nomination list. He also informed them that they were not safe and that the audience would decide their fate the next day.

Subsequently, Nandana and Saranya were singled out for eviction. Each received envelopes containing words they had to complete on a board in the garden area. Despite their efforts, neither contestant could complete the task in the first round due to insufficient letters. However, in the subsequent round, Nandana completed the task, resulting in Saranya’s eviction from the house.

Before exiting the house, Saranya shared her experience and said , “The Bigg Boss house is not as simple as we may think. It is a place filled with emotions and challenges. Surviving in the house requires resilience and adaptability. If you can survive in the Bigg Boss house, you can survive anywhere. The house has a transformative effect on people; the quiet ones find their voice, and the hot-tempered individuals learn to remain calm.”

Following this eviction, the remaining contestants faced a puzzling task the next day. Unfortunately, Sreerekha could not complete her puzzle, leading to her eviction from the house. With only a few contestants remaining inside the house, it remains to be seen who will lift the trophy this season. Stay tuned for more updates related to Bigg Boss Malayalam 6.

Rohan Verma, widely known as Wrestling Hindi News, is a multifaceted content creator with a thriving YouTube channel boasting over 100,000 subscribers. While his digital presence is synonymous with the pulse of the wrestling world, Rohan is more than just a sports journalist; he's a versatile content writer and author with a distinct flair.

Beyond the adrenaline of the wrestling ring, Rohan Verma has a deep-seated passion for the Indian movie and TV industry. His unique perspective and keen insights into the intricacies of the entertainment world make him a notable voice in the realm of pop culture.

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Box Office: From Fighter To Bade Miyan Chote Miyan, Bollywood Has Witnessed Six Global 100 Crore Grossers In 2024 So Far!

From fighter to bade miyan chote miyan, there are six bollywood films that have crossed 100 crores gross at the worldwide box office in 2024..

2023 was truly a blast for Bollywood, with films like Pathaan, Gadar 2, Jawan, Animal, and many others bringing in monstrous numbers at the worldwide box office. This year, there have been no such big films, and so far, six films have managed to score a century, with Hrithik Roshan’s Fighter staying at the top. Keep reading to know more!

Hrithik Roshan-led Fighter is Bollywood’s first 100 crore club entrant at the worldwide box office in 2024 and is also the highest-grossing film so far, with a collection of 351.75 crores gross. In India, it earned 250.75 crores gross, while in overseas, it did a business of 101 crores gross. After this biggie, Teri Baaton Mein Aisa Uljha Jiya scored a century.

The Shahid Kapoor and Kriti Sanon starrer did surprisingly well both in India as well as overseas. It earned 102.66 crores gross in the domestic market, while internationally, it raked in 41 crores gross, taking the worldwide gross to 143.66 crores gross. Yami Gautam’s Article 370 was another surprise entrant of the club. Its global earnings stand at 108.60 crores gross, with 95.60 crores gross coming from India.

Ajay Devgn and R Madhavan’s Shaitaan performed exceptionally well at the worldwide box office. In India, it did a business of 177 crores gross, while in the overseas market, the film earned 38 crores gross. Globally, the collection stands at 215 crores gross. Tabu, Kareena Kapoor Khan, and Kriti Sanon’s Crew, too, managed to hit the 100 crore milestone globally.

After an impressive start, Crew maintained the momentum and as per the last update, it did a business of 145.56 crores gross at the worldwide box office. The recent addition to the list is Akshay Kumar and Tiger Shroff’s Bade Miyan Chote Miyan. Its global sum stands at 110 crores gross, with 76.93 crores gross coming from India.

Bollywood’s 100 crore club entrants at the worldwide box office in 2014:

Fighter – 351.75 crores gross

Teri Baaton Mein Aisa Uljha Jiya – 143.66 crores gross

Article 370 – 108.60 crores gross

Shaitaan – 215 crores gross

Crew – 145.56 crores gross

Bade Miyan Chote Miyan – 110 crores gross

Note: Box office numbers are based on estimates and various sources. Numbers have not been independently verified by Koimoi.

Stay tuned to Koimoi for more box office updates!

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