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About Ayyappanum koshiyum Movie 


Written by : Sachy

Directed by : Sachy

Music by : Jakes Bejoy

Starring : Prithviraj Sukumaran, Biju Menon

Release date : 7 February 2020

Running time : 175 minutes

Language : Hindi

Country : India




Storyline of Ayyappanum koshiyum Movie 


Ayyappanum Koshiyum (Ayyappan and Koshy) is Driving Permit with station disparity added to class contrasts. Featuring Prithviraj Sukumaran and Suraj Venjaramoodu, Driving Permit was delivered only weeks back and ended up being a strange, insightful, engaging critique on star features and star egotism conflicting with regulatory strategic maneuver ignited off by a circumstance not of either enemy's making. Essayist chief Sachy ropes in Prithviraj and Biju Menon for Ayyappanum Koshiyum, a film about a haughty yet not full scale underhanded, very much associated, monetarily well-off previous havildar of the Indian Armed force fighting persistently with a serious regardless of whether hot-headed cop from less favored conditions.

Prithviraj's Koshy Kurian is tanked when his vehicle is come by the police late one night in a no-liquor zone in Kerala's rocky open country. Ayyappan Nair (Biju Menon) is the neighborhood SI guiding the group on the spot. Following some pomposity from one party and messing up by the other, Koshy is confined and commitments to show Ayyappan a thing or two. He follows through with his commitment, however before long starts to lament his choice after understanding that his lopsided reaction to a slight could obliterate the other man's life. It is past the point of no return by then however as Koshy's self-important dad Kurian John (played by Ranjith) and Ayyappan's wild attitude have proactively become an integral factor.

The narrative of Ayyappanum Koshiyum is a fine representation of how little demonstrations of hauteur - for this situation fuelled by friendly molding and foundational defilement - when joined with explosions of temper can prompt certified complaints and false impressions that could make any fight winding out of the control of the individuals who are sufficiently silly to think they hold the reins of the universe. In Sachy's content, both male leads have character blemishes, and every one needs at various places in the story to pull out from the duel, however the little fire that was lit that first night on a confined street has procured an unmistakable overflow of energy and continues to pull them back in like a moth attracted to a fire that obliterating it knows is logical.

The brilliance of this film lies in the shades of dim it gives Ayyappan and Koshy, and the authenticity of how their conflict gets extended endlessly. The connection among Koshy and his dad is especially persuading, similar to the exterior of hot air Koshy keeps up with to cover his uncertainties and fears. While he allows the veil to drop - before the crowd and his steadfast driver Kumaran - Prithviraj is splendidly limited.

Menon also is right on target as Ayyappan, a job in which he fortunately sheds the (charming yet sort of monotonous) BijuMenonness that has for some time been a sign of his comedic screen excursions, to turn into this extraordinary cop overflowing with a fury he has gotten control over for almost thirty years.

As far as screen presence and acting strength, the two entertainers are wonderful fencing accomplices.

However, Sachy's film has huge blemishes. In the primary hour, the testosterone-ridden discussions between the focal triplet - Ayyappan, Koshy and Kurian - are fun, yet I suspect a more limited Ayyappanum Koshiyum could have been a superior Ayyappanum Koshiyum in light of the fact that as it extends from one-and-a-half to two hours and forward to almost three hours, I started progressively finding the exchanges to some degree tiring. At the point when these men are together in the last part, Ayyappanum Koshiyum seldom permits us to fail to remember that they are characters in a film conveying filmic lines in painstakingly tweaked, profound manly voices. The couple of moments to a great extent post-stretch when Ayyappan and Koshy truly do let their watchman down with one another come as such a lovely respite that I wish there had been a greater amount of those.

Ayyappanum Koshiyum's other shortcoming is the depiction of its ladies characters. Jessy, the lesser police officer played by Dhanya Ananya, in spite of being a minor player has more haul than Koshy's significant other Ruby (Angamaly Journals' Anna Reshma Rajan) and Ayyappan's better half Kannamma (Gowri Nandha) however the last two get more screen time. The two spouses appear to have been composed reluctantly (determined maybe by a craving to be praised for highlighting resilient ladies in the content?) as opposed to having streamed normally from pen to paper. Kannamma, for example, gets one blazing scene of verbal showdown with Koshy however for the rest is just a strong picture of maternal strength and the resistance of the underestimated - an adivasi mother with her child in her arms as she assumes the foundation - rather than an elegantly composed, balanced character. She scowls consistently, and should have been stuck on a banner behind the scenes with the words "tough lady" composed across her temple, since that is what she is really going after most section: a noteworthy visual.

Ruby, then again, is a survivor of confounded composition. In her early on scene, she is introduced as a paltry, trained lady with shallow feelings - she is visiting her better half in prison and is less worried about his government assistance than whether she will get back the utensils in which she brought him food. Nothing she does from that point legitimizes the underlying portrayal. (Fair warning) More terrible, in a scene in which this terrified lady makes her mark and gets comfortable with herself, Koshy slaps her and the tone of that scene isn't condemning of his activities by any stretch of the imagination. I don't uncertainty briefly that a spoilt individual like him would be man centric and may be rough with his significant other, the issue lies with the plan of that concise section - his slap is presented as commendation for words she recently expressed and, I rehash, the tone of the scene isn't condemning of his activities. (Heads up closes) The standardization, even humourisation, of aggressive behavior at home is an ongoing issue in Malayali society and in Mollywood movies, and here is one more occurrence of this discomfort.

This is genuinely miserable, on the grounds that the presence of the two ladies is vital for the film. As far as one might be concerned, it turns out to be clear in a late scene that might have turned horrendous, that Ruby knows about and has confidence in her significant other's natural respectability and balance in correlation with her father by marriage's irredeemable nature. Furthermore, Kannamma, one-note wonder however she is, adds a layer to the standing conditions in a generally stirring quandary. This is significant despite the fact that a scene showing a gathering of adivasis meeting Ayyappan is plainly sincerely manipulative and turns the folksy, piercingly natural music score by Jakes Bejoy into an instrument of its controls.

Other satellite characters are given more profundity and subtlety. The most significant of them are Ayyappan's steady yet exasperated quick chief (Anil Nedumangad), the insubordinate youthful cop at their station (Anu Mohan) and the driver (Ramesh Kottayam) who appears to realize Koshy far superior to Kurian.

Sudeep Elamon's camerawork in Ayyappanum Koshiyum is striking and astute. He features not simply the incredible excellence of the film's areas yet in addition, once in a while, their ghostly, scaring tremendousness. Similarly significant, he shoots the actual battles to such an extent that they show up more normal than the sensational tricks we are utilized to in business Mollywood.

Malayalam film of the previous ten years has worked in equal limits: the uproarious equation based film leaned toward by the two goliath M's and the peaceful, delicate assortment that has tracked down favor among cinephiles across India. Ayyappanum Koshiyum possesses a center ground between these tracks. Its shortcomings are obvious, however Sachy's film is offbeat and overall, both smart and pleasant.



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Twenty or a quarter century prior, the Malayalam business film thought of an about legend manliness, genealogy and numerous different things that currently have turned into a serious discussion among individuals who read the legislative issues of motion pictures. The new film Ayyappanum Koshiyum coordinated by Sachy, featuring Prithviraj and Biju Menon may not be that very sensitive film assuming that you examine it word by word, yet there is this deriding of manliness done inside the system of a business mass masala film and I need to say that this change in the story is considerable. Very much like Driving Permit, some might feel that the peak might have been somewhat more serious, however the duel we see here starts all along of the film and that in a manner works for this film.

Koshi Kurien is a resigned havildar from the Indian Armed force. While heading to Ooty through Attappadi, Koshi was conveying alcohol and tragically, the normal joint checking of the police and the extract division gets him for conveying alcohol in a restricted zone. The inner self of Koshi convoluted things and his retribution plans against Ayyappan Nair who enrolled his capture was much more self image driven. The degree to which this competition develops is the center of Sachy's Ayyappanum Koshiyum.

The conversation about the profoundly testosterone-driven stories and the backward jokes in standard films have been going on for some time now. In Chocolate, Sachy's most memorable film as an essayist, the legend is closing the champion by compromising her that he will make her pregnant. Prithviraj himself later understood the risky component in such legend portrayal and chose not to support such backward articulations. Ayyappanum Koshiyum is a lot of in that manly space. In any case, what I enjoyed about the film is that it wasn't really commending the manliness which at one point was the main thrust of hit Malayalam films. In the trailer when Koshi consults proudly about the thickness of his blood, we sense the outdated "genuine man" vibe. Be that as it may, when I saw it in theater, the effect was unique and you won't want to applaud a chivalrous assertion. Koshi, who can be considered as that likeness practically every one of the closed-minded male characters essayist chief Ranjith has written thriving is becoming dumbfounded before an Ayyappan Nair who doesn't have any of the honors and heredity that Koshi gloats about.