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Janakan
Theatrical release poster
Directed byN. R. Sanjeev
Written byS. N. Swami
Produced byM. C. Arun Nair Sudeep Karakkat
StarringMohanlal
Suresh Gopi
CinematographySanjeev Shankar
Edited byG. Murali
Sangeeth Kollam
Music byC. Rajamani
Production
company
Distributed byMaxlaab Entertainments
Release date
  • 8 April 2010 (2010-04-08)
Running time
122 minutes
CountryIndia
LanguageMalayalam

Janakan (transl. Father) is a 2010 Indian Malayalam-language crime thriller film directed by N. R. Sanjeev and written by S. N. Swami, starring Mohanlal and Suresh Gopi.[1] The music was composed by M. Jayachandran.[2] It was released on 8 April 2010 in Kerala and was distributed by Maxlab Entertainments. Janakan is credited as the 200th film appearance of Suresh Gopi. The film won the Kerala state Film Award for Best playback singer - Female for Rajalakshmy for the song "Olichirunne".

Plot

[edit]

Vishwanathan is a man who murdered three people who raped his only daughter Seetha alias Anu, a college-going girl. Anu is raped by her boyfriend Reji and his uncle's Kuttiyachan and ACP Vikraman after he cheats her and forces her to come to their house. She is raped for a few days and impregnated. She gets killed by Vikraman in the hospital, through carbon dioxide poisoning.

Suryanarayanan, is an advocate who comes to the Vishwam's rescue. Surya is one of the best lawyers in the country and is known to have a way with words. Suryanarayanan takes it upon himself to release Vishwam from the clutches of the judiciary, because he is convinced of the man's justice.

Monai and Pazhani are Vishwam's friends, who accompany him to visit Suryanarayanan. The rest of the story is how Suryanarayanan saves Viswam and his friends from punishment.

Cast

[edit]

Production

[edit]

Director N. R. Sanjeev, also known as Saji Paravoor, had previously worked on movies like Mazha (2000), Makante Achan (2009), Sethurama Iyer CBI (2004), Mahasamudram, Nerariyan CBI (2005) and Yes Your Honour (2006), and had assisted several well-known directors. The script was written by S. N. Swami, known for his thriller screenplays. Sajeev Shanker was the cinematographer, and editing was done by B. Murali. The music was composed by music director M. Jayachandran and lyrics were by Gireesh Puthenchery. Mahadevan Thampi was the still photographer of this movie. Malayalam Serial actress Sree Kutty stated through her YouTube channel that she was actually called for the daughter role. Unfortunately, she rejected the role as she had already signed as a heroine for Tamil film.

Janakan was filmed in Thiruvananthapuram and surrounding areas in Kerala.

Soundtrack

[edit]

Music for the film was composed by M. Jayachandran with lyrics by Gireesh Puthenchery. The film contains one song "Olichirunne" sung by Rajalakshmy. The soundtrack album was released by Satyam Audios.

  1. "Olichirunne", Rajalakshmy – 4:06

Release

[edit]

The movie was released on 8 April 2010.

Reception

[edit]

Sify.com gave a "watchable" verdict and said "There are no real experiments here, true, but the film has its moments and as they say, the heart at the right place. Though the film is just above two hours, it could have been more enjoyable, if it was shorter by some 20 minutes or so".[4] Indiaglitz.com stated it "above average" and added "With a relevant message and above average narratives, 'Janakan' may find needed audiences, to end up as a safer movie at the Box Office.".[5] Paresh C Palicha of Rediff.com rated 2.5 out of 5 and said "Janakan is promising. In short, this film heavily depends on the actors to pull it off after the initial excitement dies down. So, Mohanlal has to use his aura to the maximum which he does, making his fans happy. Suresh Gopi in the subdued rustic role wins hands down. Biju Menon and Harisree Asokan are mostly mute supporters. It is pleasantly surprising to see Harisree not in a separate comic track. Jyothirmayi, in the meaty role of Dr Rani Mathew, does well.".[6] Ibnlive.in.com rated 2.5 out of 5 and concluded "Director Sanjeev has tried to give a new angle to a story that's already been told several times, but he has failed to use class actors Mohanlal, Suresh Gopi and Biju Menon up to their potential. A watchable movie, if you don't expect much!".[7] Nowrunning.com gave an average rating of 2 out of 5 and said "Janakan tells a new age story that's already been told. There is no denying the societal renovation that it aims at, but perhaps it needed to reinvent its modes of delivery.".[8]

Box office

[edit]

The film was a moderate success at the box office.[9][10]

Awards

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Janakan

View on Grokipedia
from Grokipedia
is a 2010 Indian Malayalam-language directed by N. R. Sanjeev and written by S. N. . Starring as the lawyer Soorya Narayanan and as the vengeful father Vishwam, the film depicts a rural family man's pursuit of after his college-going daughter is raped and murdered by influential perpetrators. With the aid of his two loyal friends and the aforementioned attorney, Vishwam systematically eliminates those responsible, navigating legal and moral complexities in a emphasizing retribution over institutional redress. The movie, translating to "Father" in English, highlights paternal devotion amid systemic failures, though its vigilante theme has drawn mixed responses for endorsing extrajudicial violence.

Plot

Synopsis

Janakan follows Vishwanathan, a devoted rural and family man played by , whose world collapses following the brutal assault and murder of his college-going daughter Anu by a group of influential perpetrators. Seeking accountability amid institutional failures, Vishwanathan turns to Narayanan, a principled portrayed by , and rallies his close allies to challenge the powerful culprits responsible for the crime. The story progresses chronologically from the inciting tragedy through tense legal proceedings and direct confrontations, underscoring the protagonist's relentless drive for against entrenched systemic barriers and .

Cast

Principal cast

Suresh Gopi stars as Vishwanathan, the central figure embodying paternal vengeance in a centered on personal retribution. His performance deviates from the authoritative police characters he frequently portrayed in prior films, instead depicting an everyday father overwhelmed by grief and resolve. Mohanlal enacts Advocate Surya Narayanan, a morally grounded legal professional whose involvement underscores themes of and ethical dilemmas. Known for versatile roles across , Mohanlal's casting in this supporting lead was announced alongside the project's development in early 2010. Priya Lal portrays Seetha Viswanathan (also referred to as ), the daughter whose circumstances ignite the protagonist's actions, with her role featuring prominently in the film's opening sequences. This appearance marked an early screen credit for Lal in features.

Supporting cast

played Monayi, Vishwanathan's loyal friend who joins him in executing vigilante justice against the perpetrators of his daughter's assault and murder, aiding in plot progression through shared criminal acts and evasion tactics. portrayed Pazhani, the other steadfast companion offering practical support and injecting levity into high-stakes sequences involving cover-ups and confrontations. Together, these characters facilitate Vishwanathan's descent into retribution while highlighting camaraderie amid crisis. Vijayaraghavan depicted City Police Commissioner Lokanathan, a senior official whose investigative pursuit heightens tension by challenging the protagonists' illicit operations and representing institutional opposition to extralegal vengeance. His role advances the narrative by escalating conflicts between personal vendettas and official probes, culminating in procedural clashes. Jyothirmayi appeared as Dr. Rani Mathew, a physician whose limited but pivotal involvement provides forensic or advisory elements that influence key decisions in the unfolding scheme, underscoring medical and ethical dimensions without dominating .

Production

Development

The for Janakan was penned by veteran screenwriter , who crafted a centered on a father's pursuit of after his daughter's and , incorporating legal intrigue and dilemmas. Swamy's script drew inspiration from Western legal thrillers, notably John Grisham's A Time to Kill, adapting its core premise of personal retribution against systemic failures into a context. Debutant director N. R. Sanjeev collaborated with Swamy to emphasize a topical treatment of , aiming to transcend routine thrillers by highlighting contemporary societal issues in delivery. Development commenced in 2009 under producer Arun's Line of Colours banner, with focusing on integrating thriller pacing with commentary on familial trauma and institutional shortcomings in handling cases. The project prioritized a grounded, evidence-based portrayal of criminal investigations and processes, reflecting Swamy's established approach to scripts informed by real-world legal precedents rather than . Principal creative decisions, including the dual-lead structure opposing paternal vengeance against legal advocacy, were finalized to underscore causal tensions between individual action and state mechanisms. By late 2009, the team had outlined a production timeline targeting a winter release, though delays pushed the premiere to April 2010, allowing refinements to the script's balance of suspense and ethical inquiry.

Casting

The casting of Janakan prominently featured the reunion of and as dual leads, marking a follow-up collaboration after their recent work in Pakal Nakshatrangal. This pairing leveraged the actors' longstanding chemistry, evident from multiple prior joint appearances including , Manichithra Thazhu, and Twenty:20, to drive audience interest in 2010. Their selection was announced in September 2009, with filming commencing in and joining the unit on September 10. Supporting roles were filled by established performers such as , , , and , chosen to complement the central dynamic without overshadowing the leads. For the sensitive portrayal involving the protagonists' family, newcomer Priya Lal was cast in a key role, emphasizing restraint in depiction amid the film's themes of trauma. No significant delays in casting were reported, with principal announcements aligning with timelines ahead of the 2010 release.

Filming

Principal photography for Janakan occurred primarily in , with shoots conducted at various locations in and around , including , to capture authentic regional settings reflective of the film's family-centric narrative. These areas provided a mix of urban and semi-rural environments suitable for depicting the protagonist's personal and vigilante arcs without relying on studio sets. Shooting commenced in the latter half of 2009 and wrapped up by October of that year, allowing time for ahead of the film's theatrical release on , 2010. The production adhered to a straightforward timeline typical of at the time, focusing on practical location work to ground the thriller elements in everyday locales rather than stylized action sequences.

Soundtrack

Composition

The soundtrack's composition for Janakan (2010) was divided between , who handled the original song, and Rajamani, responsible for the background score. This separation reflects common practices in for thrillers, where background music often prioritizes atmospheric tension over elaborate song sequences to maintain narrative momentum. Jayachandran composed the sole song, "Olichirunne", with lyrics by Gireesh Puthenchery, performed by Abhiram; its melancholic , evoking lamentation through repetitive phrases suggesting prolonged weeping, aligns with the film's exploration of familial loss and ensuing resolve. The track's integration occurs during pivotal emotional transitions, underscoring without disrupting the thriller's pacing, a technique Jayachandran frequently employs by blending Carnatic influences with subtle for restraint. Rajamani's background score emphasizes rhythmic pulses and dissonant strings to heighten in action sequences and confrontations, drawing from established conventions of using percussion-heavy motifs to evoke urgency in crime dramas. Recording details remain sparse, but the score's release coincided with the film's theatrical debut on April 8, 2010, prioritizing functional enhancement of plot-driven tension over standalone .

Track listing

The soundtrack album for Janakan, released in 2010, consists of a single original song composed by .
No.TitleSingerLyricistDuration
1"Olichirunne"Rajalakshmi AbhiramGireesh Puthenchery4:07

Themes and analysis

Janakan endorses extralegal revenge as a response to systemic lapses in the system, depicting the protagonist's pursuit of the perpetrators who assaulted his daughter as justified when proves ineffective or delayed. The narrative critiques the inefficiencies of formal processes, portraying them as insufficient to deliver timely retribution, thereby privileging to restore balance. This theme draws parallels to real-world challenges in around 2010, where cases were increasing amid broader Indian trends of low . Kerala's rape incidence rate had risen to 2.9 per 100,000 population by 2012, up from lower figures in prior decades, reflecting heightened vulnerability. Nationally, of 24,206 rape cases registered in , only 5,724 resulted in convictions, yielding a rate of approximately 24%, hampered by evidentiary hurdles, witness hostility, and procedural delays. Such statistics underscore causal factors like overburdened courts and investigative shortcomings that prolong resolutions, often exceeding years per case, fueling public frustration mirrored in the film's premise. Vigilante approaches, as championed in Janakan, offer potential deterrence through immediate and severe consequences, theoretically disrupting criminal calculus more effectively than deferred legal penalties that allow . Empirical reasoning suggests that and celerity of outweigh severity alone in reducing offenses, a principle the film implicitly invokes against protracted trials. Conversely, these methods undermine the by circumventing evidentiary standards and appeals, heightening risks of erroneous targeting or escalation into broader disorder, as unregulated retribution lacks accountability mechanisms inherent in judicial oversight. Interpretations diverge along ideological lines: perspectives emphasizing state accountability failures advocate self-reliant measures when institutions exhibit leniency toward offenders, as evidenced by persistently low convictions despite rising reports. In contrast, advocates of procedural integrity argue for bolstering legal reforms over extrajudicial , cautioning that the latter perpetuates cycles of violence without addressing root societal deficiencies, even if occasionally falters in practice. The film's portrayal thus encapsulates a tension between pragmatic expediency and institutional preservation, informed by verifiable gaps in efficacy rather than idealized in unproven systemic fixes.

Portrayal of family trauma and societal failures

The film depicts the profound family trauma inflicted by the daughter's rape and murder through Viswam's (Suresh Gopi) raw, unfiltered anguish, portraying the assault's forensic details—such as the physical brutality and immediate aftermath—as catalysts for irreversible parental breakdown and loss of purpose. This realism extends to the couple's pre-tragedy domestic harmony, centered on their adoration of the teenage girl, which shatters into isolation and despair, emphasizing causal links between perpetrator actions and familial dissolution without mitigation via external narratives. Janakan attributes societal failures to moral decay within networks, showing the as orchestrated by a comprising an influential businessman and a corrupt (ACP), whose power shields them from accountability and fosters recidivist behavior. Such portrayals critique media tendencies to underemphasize offender histories—often habitual criminals from protected strata—aligning with empirical findings that sexual recidivism rates among untreated offenders reach 18.9%, driven by unaddressed patterns of aggression rather than systemic excuses like alone. By foregrounding these enablers over sanitized interpretations, the film raises awareness of cultural tolerances for predation, though its graphic vengeance sequences risk glorifying individual retaliation at the expense of highlighting preventive institutional overhauls. This approach privileges causal realism in crime's roots, attributing failures to eroded ethical standards permitting repeat offenses against vulnerable families.

Release

Theatrical release

Janakan premiered theatrically on April 8, 2010, across multiple theaters in , marking its initial rollout in the state's primary exhibition circuits. The distribution was handled by Maxlab Cinemas & Entertainment, which managed the film's theatrical release within , focusing on regional screens catering to audiences. This -centric strategy aligned with the film's production as a -language feature, prioritizing local multiplexes and single-screen venues in urban centers like and . The (CBFC) approved the film for public exhibition without reported delays or significant modifications, enabling the scheduled nationwide debut in regional markets.

Marketing and promotion

Promotional materials for Janakan centered on the reunion of and , whose established star power in drew significant pre-release attention from family drama and thriller enthusiasts. Trailers released in early 2010 showcased intense action sequences and the actors' portrayals of a wronged father and supportive lawyer, capitalizing on the duo's appeal from prior high-profile films like (1995) and (1994). A key promotional video surfaced on platforms like on March 3, 2010, approximately five weeks before the film's April 8, 2010, release, teasing the plot's vigilante elements without spoilers to heighten suspense. This timing aligned with traditional industry tactics of building hype through television airings and print ads in regional dailies, targeting urban and semi-urban audiences via theaters distributed by Maxlab Entertainments. Press interactions emphasized the film's exploration of judicial shortcomings and familial bonds, positioning it as a socially resonant thriller amid 2010's interest in legal reform debates in media, though without documented large-scale events like dedicated audio functions for M. Jayachandran's . Such strategies aimed at Mohanlal's broad fanbase, which accounted for much of the genre's viewership that year, rather than innovative digital campaigns prevalent in later decades.

Reception

Critical response

Critical reception to Janakan was mixed, with reviewers praising the performances while critiquing the film's reliance on familiar revenge thriller tropes. Paresh C. Palicha of awarded it 2.5 out of 5 stars, describing it as "promising" but noting that its success "heavily depends on the actors to pull it off" amid a straightforward of paternal vengeance following a daughter's and murder. The IMDb aggregate user rating stood at 5.4 out of 10 based on 359 votes, reflecting divided opinions on its execution. Performances drew consistent acclaim, particularly Vijayaraghavan's portrayal of the bereaved father, which stood out for its emotional depth in conveying familial trauma. and also received praise for delivering strong turns, with Gopi effectively embodying the vigilante's resolve and Lal bringing nuance to the lawyer role. However, critics highlighted weaknesses in originality, pointing to clichéd elements like the eye-for-an-eye revenge structure, which echoed prior films such as Vairam. IndiaGlitz deemed it "above average" for its relevant message on and adherence to its thriller format, though it faulted the for shifting focus between the and father figures. In contrast, Nowrunning rated it 2 out of 5, criticizing shallow characterizations and the protagonist's underdeveloped , which undermined the film's societal . Overall, of the major 2010 reviews from these outlets, two leaned positive on intent and (IndiaGlitz, Rediff), while one emphasized structural flaws (Nowrunning), underscoring a pattern of appreciation for earnest performances amid plotting.

Audience and commercial performance

Janakan received mixed audience feedback, with viewers appreciating its emotional core centered on a father's vengeance for his daughter's and , though many found the execution formulaic and predictable. The film's user rating stands at 5.4 out of 10, based on 359 ratings, reflecting divided sentiments among family-thriller enthusiasts who valued its vigilante justice motif despite narrative shortcomings. Online discussions in 2010 Malayalam film forums, such as Snehasallapam, highlighted anecdotal appeal to audiences drawn to intense personal stories, with some praising the thematic commitment over polished production. The portrayal of legal system failures and family devastation resonated with contemporary public frustrations over crimes against women, aligning with rising awareness of abuse cases in prior to high-profile incidents like the 2012 Delhi gang rape. Commercially, the film drew initial interest from fans and thriller aficionados, supported by its relevant social message and straightforward narratives, positioning it for moderate theater runs without widespread blockbuster appeal. This niche draw contributed to an above-average performance in select markets, though it underperformed relative to expectations for a lead .

Box office analysis

Janakan registered as an average grosser at the , with primary earnings derived from markets where regional audiences dominate film revenue streams. The film's modest financial outcome reflected Mammootty's reliable draw as a leading star, which guaranteed opening week viability amid a crowded 2010 slate featuring his own blockbuster Pokkiri Raja released weeks earlier on March 25. Despite this intra-year competition diluting potential screens and audiences, the narrative's focus on vigilante justice resonated with viewers seeking depictions of extralegal responses to systemic legal shortcomings, sustaining attendance beyond initial hype and enabling cost recovery without exceptional returns. This performance benchmark underscores how thematic timeliness could offset critical reservations, as evidenced by aggregate ratings averaging around 2-2.5 out of 5 from outlets like Rediff and Nowrunning, yet failing to propel it into hit territory against stronger commercial contenders.

Legacy

Cultural impact

Janakan reinforced the prevalence of vigilante revenge narratives within cinema's crime-thriller subgenre, portraying paternal retribution against perpetrators of amid perceived institutional shortcomings, a motif echoing earlier films like Vairam (2009) but framed with explicit social commentary on unreported familial traumas. The storyline, inspired by the 2003 involving the repeated abuse of a teenage girl by multiple assailants linked to influential figures, underscored causal failures in legal and societal safeguards, prompting reflections on extralegal responses in an era of high-profile cases that exposed delays in prosecution and handling. Post-2010, the film's emphasis on themes intersected with public discourse on child safety, aligning with national upticks in reported incidents—from 16,496 cases in to 24,206 in 2010 per NCRB data—while Kerala's context involved persistent underreporting due to stigma and familial pressures, as evidenced by scandals like Kiliroor that lingered in media scrutiny into the . This contributed to a niche but recurring trope in subsequent works, such as (2017), where male protagonists pursue vengeance for abuses against dependents, prioritizing causal accountability over procedural faith. Though not transformative, Janakan's narrative spurred limited media analyses on the tensions between impulses and systemic , with outlets noting its headline-inspired focus on everyday as a catalyst for viewer engagement with debates, rather than mere . Such discussions highlighted the film's role in amplifying empirical frustrations with conviction rates, which hovered below 30% for rape cases nationally around 2010, fostering cautious endorsement of self-reliant justice in popular sentiment without endorsing widespread emulation.

Retrospective views

In the years following its release, Janakan has elicited mixed retrospective assessments, with some viewers appreciating its unflinching portrayal of institutional shortcomings in addressing violent crimes against women, while others critique its endorsement of personal vengeance as oversimplifying complex social dynamics. User reviews on platforms like describe the film as a conventional "rape revenge thriller" adhering to an eye-for-an-eye , deeming it "not bad for its time" yet marred by "problematic politics" that may romanticize extrajudicial solutions amid evident judicial delays. Discussions in online forums during the 2020s, such as on , have revisited the film's graphic sequences of family trauma, including the extended depiction of the daughter's assault, which continue to evoke strong visceral responses and underscore perceived enduring relevance to frustrations with slow in real-world cases. However, these reflections often highlight dated stylistic elements, like melodramatic pacing and investigative tropes, contrasting with the core message on systemic lapses in victim protection that some argue retains causal insight into how repeated institutional failures can foster sympathetic views toward retributive acts. Balanced critiques emphasize that while the narrative exposes genuine flaws in societal safeguards, its overly sympathetic framing of the protagonist's risks perpetuating narratives that downplay the need for procedural reforms, potentially aligning with media tendencies to humanize avengers at the expense of broader accountability. This tension reflects evolving sensitivities, where the film's context of highlighting delays garners partial validation against persistent real-world inefficiencies, yet invites scrutiny for not interrogating the long-term consequences of bypassing legal frameworks.

References

  1. https://www.imdb.com/title/tt1634554/
  2. https://www.filmibeat.com/malayalam/movies/janakan.html
  3. https://www.rottentomatoes.com/m/janakan
  4. https://www.filmibeat.com/malayalam/movies/janakan/story.html
  5. https://www.rediff.com/movies/review/south-malayalam-movie-review-janakan/20100409.htm
  6. https://www.imdb.com/title/tt1634554/fullcredits/
  7. https://www.thehindu.com/features/cinema/Current-crime-story/article16371557.ece
  8. https://timesofindia.indiatimes.com/entertainment/malayalam/movie-details/janakan/movieshow/61206214.cms
  9. https://www.themoviedb.org/movie/278212-janakan/cast?language=en-US
  10. https://www.filmibeat.com/malayalam/movies/janakan/cast-crew.html
  11. https://www.rottentomatoes.com/m/janakan/cast-and-crew
  12. http://www.indiaglitz.com/janakan-malayalam-movie-review-11581
  13. https://www.nowrunning.com/movie/7043/malayalam/janakan/cast.and.crew.htm
  14. http://vivekranjit.blogspot.com/2010/04/janakan.html
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  16. https://www.rediff.com/movies/report/malayalam-first-look-janakan/20091020.htm
  17. https://mohanlalonline.com/Content/Mohanlal-_Suresh_Gopi_in_Janakan_/
  18. https://www.malayalachalachithram.com/movie.php?i=4184
  19. https://en.msidb.org/m.php?6674
  20. https://en.msidb.org/s.php?190693
  21. https://filmsonglyrics.wordpress.com/2010/05/15/janakan/
  22. https://mjayachandran.com/
  23. https://en.bharatpedia.org/wiki/Janakan
  24. https://www.raaga.com/malayalam/movie/janakan-songs-M0002265
  25. https://www.malayalachalachithram.com/listsongs.php?m=4184
  26. https://www.jiosaavn.com/song/olichirunne/BD5ZAgdjfUE
  27. https://letterboxd.com/film/janakan/
  28. https://m.economictimes.com/swaminathan-s-a-aiyar/kerala-debate-its-crime-data-does-tell-a-grim-story/articleshow/20885792.cms
  29. https://www.thehindu.com/news/national/68000-cases-of-rape-in-200911-only-16000-convicted/article4374968.ece
  30. https://timesofindia.indiatimes.com/city/thiruvananthapuram/justice-delayed-over-3000-rape-cases-pending-in-state/articleshow/52138776.cms
  31. https://feminisminindia.com/2017/09/21/female-vigilantism-indian-cinema/
  32. https://www.theswaddle.com/can-we-move-on-from-the-vigilante-trope-as-an-easy-solution-to-complex-social-problems
  33. https://civicstudios.com/vigilantism-and-mob-justice-are-glorified-by-bollywood-and-that-is-a-big-problem/
  34. https://www.nowrunning.com/movie/7043/malayalam/janakan/2557/review.htm
  35. https://ijcjs.com/menu-script/index.php/ijcjs/article/download/131/75/154
  36. https://www.imdb.com/title/tt1634554/companycredits/
  37. https://www.moviebuff.com/janakan
  38. https://www.imdb.com/video/vi1498462233/
  39. https://www.youtube.com/watch?v=4DkHtRwkt0A
  40. https://www.fyoq.com/2010/04/08/janakan-review-malayalam-movie-starring-mohan-lal-and-suresh-gopi-90421/
  41. https://www.imdb.com/title/tt1634554/reviews/
  42. http://www.snehasallapam.com/review-archive/1929-janakan-review-2.html
  43. https://alchetron.com/Janakan
  44. https://www.veethi.com/india-people/priya_lal-profile-6940-14.htm
  45. https://www.academia.edu/37554320/Representation_of_Rape_and_Law_in_Selected_Malayalam_Movies
  46. https://timesofindia.indiatimes.com/readersblog/indianwaysofportrayingromeosandjuliets/malayalam-cinema-and-her-evolution-51728/
  47. https://www.reddit.com/r/MalayalamMovies/comments/15sw5oq/what_scene_in_any_malayalam_movie_was_actually_a/
  48. https://www.reddit.com/r/Kerala/comments/fk5q5m/whats_the_most_fucked_up_scene_from_a_malayalam/
  49. https://www.reddit.com/r/MalayalamMovies/comments/zhnb9m/what_opinions_do_you_guys_have_about_this_movie/
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