home tamil movie review

#Home Movie Review: An eminently comforting film with relatable characters

Rating: ( 3.5 / 5).

There is a scene in #Home where Indrans is sitting inside a restaurant separated from the relatively younger and 'cooler' members of his family. I once happened to see the exact real-life version of this scene when I went to a restaurant alone. This father was seated in front of me -- because my table had only one person -- while his son, wife, and kids occupied a different table. Indrans' character, Oliver Twist, reminded me of him. They couldn't have picked a better actor to play him.

Director: Rojin Thomas Cast: Indrans, Sreenath Bhasi, Naslen, Manju Pillai, Kainakary Thankaraj Streaming on: Amazon Prime Video

Like the father in the above anecdote, the actor can convey volumes without saying anything. You can tell what he is thinking by simply looking at his face. Each member of the film's central family -- Kainakary Thankaraj as the grandfather; Indrans, the father; Manju Pillai, the mother; and Sreenath Basi and Naslen as their sons Anthony and Charles, respectively -- seems to experience this alienation to a certain degree. They seem to exist in separate compartments while living under the same roof.

When we meet Anthony, he is a filmmaker with a single film to his name, leading a disorderly existence. He has been struggling to complete the climax of his second film. The producer (Maniyanpilla Raju) is growing impatient by the day. The latter suggests that he write the last act in the same place where he wrote his successful debut. It's a nice segue to the film's title. Is a chaotic, messy lifestyle with your loved ones better than the same with yourself? #Home seeks to answer this question while addressing a lot of other things.

#Home is not so much an English Vinglish -style story of a person trying to learn about something as a document of a fictitious family, told like an epic (duration: 160 mins). I loved how the film gives equal space to every character and takes its time to bring out their peculiar characteristics. It packs so many relatable Indian moments: the mother trying to wake her son up by increasing the fan's speed; the same lazy son not bothering to put back all the teacups; and the two sons occasionally peeping inside the refrigerator because, as one of them says, "It's a habit, just like checking the phone all the time." Before I sat down to write this review, I came across at least four people who told me they saw themselves or their parents in these characters. For instance, Oliver notes down everything he learns about social media apps in a diary. My mother does that. If she saw this film, I'm sure she would be pointing to this scene like Leonardo DiCaprio in that meme. And Sreenath Bhasi's Anthony represents a multitude of young Indian men forced to detach themselves for the sake of work. Anthony is not the 'bad guy' here; his plight is perfectly understandable if you have experienced/are experiencing the same.

Yes, on the surface, #Home appears to be a story of a man trying to fill the emotional void caused by the technological divide and generational gap. But it's also, primarily, an emotionally overpowering story of self-acceptance. You could call it the 'coming-of-age' of a man in his 60s, triggered by a particular incident that becomes a major cause of embarrassment for Anthony, the filmmaker, and guilt for Oliver. It's a relief to see Indrans not play him too seriously. Oliver is, after all, someone who doesn't make a huge deal about all the conflicts he encounters. He has a sense of humour, and in some cases, he is not even trying to invoke laughter. It just happens organically, and who better than an actor blessed with an incredible flair for comedy. One of my favourite moments in the film has Anthony approaching a superstar named Vishal (Anoop Menon) to pitch his script, and he sees that the former has taken a liking to Oliver instead of him. Another wonderfully comical moment has Oliver accompanying his best friend Suryan (Johnny Antony in another hilarious performance) to a psychologist (Vijay Babu, vibrant as usual).

I must give #Home props for using this last stretch to address India's mental health stigma. Though initially apprehensive about the thought of anyone seeking expert help, Oliver doesn't take too long to warm up to the idea and eliminate whatever misconceptions he may have - learning the difference between a psychologist and a psychiatrist, for instance - even when his friend remains severely sceptical. The film makes some pertinent points even when the delivery seems straight out of an awareness video at times.

However, one thing that puzzled me is the choice of music in several places. I wonder why the makers chose to overstuff the film with generic, unmemorable tunes to inform us of the emotion of each scene? Since most actors here possess the gift of subtle expression, it's awkward when each performance gets constantly underscored by a corresponding piece of music to tell us what we are supposed to feel at a given point. Isn't everything evident without the inclusion of music? Not that there is anything wrong with using it -- it's cinema, after all -- but it would've worked better in moderation for a 160-min duration film. The familiarity of some musical choices begins to wear one down after a point. Sometimes the music is as intrusive as Charles' noisy demands.

Fortunately, the film's heavily poignant ending redeems its minor shortcomings. It got me teary-eyed in a way that no other recent Malayalam film managed to do. I must thank the makers for doing a film that helps reverse, to a certain extent, the after-effects of some of the dark Malayalam thrillers released recently.  

#Home (2021) Movie Review: Dazzling Digital World and the Disconnected E-Hemispheres of Modern Man 

Rojin Thomas’ “#Home,” released in 2021, is a relatable and light-hearted story that showcases how the technologically illiterate father, Oliver Twist (Indrans), struggles hard to bridge the gap between his sons, who are immersed in the world of social media and smartphones. The importance of family ties, humane assets, the journey of self-discovery, an empathetic attitude, and mastering the mysteries of smartphones are narrated in an endearing and humorous manner. This is not just the reel life of Oliver Twist and his family but the real-life story of many residing within the same home, yet disconnected from each other and drifting apart to their own e-hemispheres of life.

The middle-aged father, Oliver Twist, struggles to make sense of the fast-changing world. He notices that his eldest son, Anthony (Sreenath Bhasi), is very fond of interacting with people on the phone instead of talking to someone beside him. Anthony faces writer’s block and digital addiction that impedes his ability to complete the script of his upcoming film, or perhaps it’s utter laziness.  Oliver’s nomophobic son exhibits a strong sense of revulsion when he’s pushed to speak directly with another human being next to him. Anthony represents the young generation who values digital relations more than anything else. They are unable to value the worth of a person close to them. They place online relationships on a pedestal.

Oliver is the digitally unsavvy father of two indifferent sons:  Antony Oliver Twist, a film director with one super hit, currently struggling with his second script; Charles (Naslen K Gafoor), the younger son who is a social media geek creating YouTube vlogs for anything and everything around him. Oliver has retired from his obsolete video cassette business and shifted his passion to his organic terrace garden.  Oliver also cares for his ailing father and does the household chores willingly.  Oliver’s wife, Kuttiyamma (Manju), is a typical sharp-tongued housewife whose nursing proficiency helps give great care to all in the family, especially Oliver’s father.

Oliver spends a lot of time with his childhood and dearest friend, Suryan, who stands with him in all the crests and troughs of life. Oliver feels free to confide his emotional agonies and the indifferent-cum-insulting behavior of Anthony to Suryan. “# Home” brings forth the challenging actuality of the present day, where everyone remains connected but living in their digital cocoon, clinging to their personal gadgets. This is a heart-warming family drama where social media turns out to be the villain, affecting the relationship between a father and his son.

Anthony, who had success with his debut film, is leading a disorderly existence as he is striving hard to finish the climax of his second film. Baby, the film producer, grows impatient as Anthony is unable to finish the script. The producer asks him to write the last act from the same place where he wrote his successful debut, i.e., home. Antony has a deadline of seven days. Antony’s relationship with his girlfriend, Priya (Deepa Thomas), also does not run smoothly, as he is least bothered by her emotional requirements. They express their hidden and unheard feelings to each other in the form of ‘emotional athyachar’ through Instagram stories.

Oliver, a beginner in the social media world, learns new things from many, including his younger son. Oliver tells Kuttiyamma that the problem between Anthony and Priya is some ‘emotional achar’ that both of them are unaware of. While interacting with a mobile phone shopkeeper, Oliver mispronounces Instagram as ‘installment.’ He frankly admits his ignorance and has a willing and affirmative mindset to learn the nuances of the online world from others. When Oliver asks Charles to teach him how to use WhatsApp and Facebook and how to pay bills, Charles impatiently tells him: Papa, you have come with one year’s syllabus to be taught. Oliver resembles many fathers of the present day who approach their children with a notebook to clarify their doubts and jot down the tips to be remembered for future use.

“#Home” beautifully captures the ironies of the highly connected world and the dying culture of person-to-person interaction. The film, which is written and directed by Rojin Thomas, speaks the truth of the present times. It puts in perspective how technology has brought the world closer and, at the same time, driven us away from the people who matter to us the most. The characters and their interpersonal dynamics possess a lived-in feel, especially Indrans, who has an extraordinary sense of presence.

The film talks in detail about the new-age parenting challenges. It also reflects on how technology is reshaping lives in every conceivable way, especially the way people interact with their surroundings. “#Home” will make one analyze the importance and consideration the present generation bestows upon relationships. Despite all the humiliations showered on him by his sons, Oliver is ready to do anything for them. He willingly consults a psychologist to bring changes in his life. He does not feel anything wrong in taking the advice of an expert to better his life. It does bring changes in his entire personality. The film acknowledges the importance of mental health in day-to-day life and why our mental peace should not be overlooked.

Anthony undergoes a sea change into ‘something rich and strange’ towards the close of the film. His rebellious nature gets a reformation, and he willingly accepts his flaws, thereby posting a note on social media in his handwriting with mistakes and overwriting. Anthony was so worried about his personality being evaluated by others. Hence, he wished to project a perfect version of himself far apart from his true self. He accepts all his frailties and pronounces, ‘I am always imperfect at my Home.’ Anthony views life afresh with all his imperfections. He ascertains that home is the only place where people are loved and cared for selflessly, irrespective of the dramas they do daily to fit into society.

Rojin Thomas has succeeded in deciphering the diverse shades of human relations. The movie shares a boundless message with an outstanding climax. “#Home” is fundamentally a tale of acceptance. One must accept one’s family with its simplicity. The family members need not be extraordinary people or superhumans to feel proud of them. A person has to be accepted and acknowledged by the way they are. Home is the right place for that, and the renowned poet, Robert Frost’s quote remains true in this context: “Home is the place where, when you have to go there, they have to take you in” (Frost,1).

#Home (2021) is a must-watch for those who feel and sense the imperfectly perfect versions of their own selves at home.

Read More: 25 Greatest Malayalam Movies of All Time

#home (2021) movie links: imdb , wikipedia , letterboxd #home (2021) movie cast: indrans, sreenath bhasi, naslen k. gafoor, deepa thomas, johny antony, manju pillai, kainakary thankaraj #home (2021) movie genre: drama, family | runtime: 2h 38m, where to watch home, trending right now.

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Home » Reviews » Malayalam Movie Reviews

Home Movie Review: A Feel-Good Film That Focuses On Characters Cinema Rarely Does, Indrans Wins Heart!

Rojin thomas, in his writing and direction, is headstrong about one thing, and that is not having a hero in his film..

Star Cast: Indrans, Sreenath Bhasi , Nalsen K. Gafoor, Manju Pillai, Deepa Thomas and ensemble.

Director: Rojin Thomas

What’s Good: Finally, a film acknowledging all the characters cinema has forever used as plot points, and making them the hero. The beauty is, there is no hero here, just Oliver Twist and his cuteness.

What’s Bad: The runtime as long as a period drama which leads to the film become preachy and dilutes the purpose.

Loo Break: Take time and watch this one. Have an empty bladder so you can enjoy the moments that are small but highly relatable.

Watch or Not?: It is a feel-good film, and one that has released after a very long time. I want you to watch and cherish your daily life on screen.

Language: Malayalam (Subtitles)

Available on: Amazon Prime Video

Children grow up but for their parents they are always the munchkins they one day brought home. Technically challenged Oliver Twist (Indrans) is father to two such boys who are now grown up and navigating their route in their respective lives but forget to acknowledge their father who is a silent giver, but never glorifies his victories. Get on board for this journey is heart breaks and Self-realisation; come out of it with a smile.

Home Movie Review: Script Analysis

The definition of family over the years has changed drastically. The dynamic that children and their parents share even more. Home, in its primary conflict, acknowledges this very argument and what it does to people who have a lot to learn about the modern world yet. Written by Rojin Thomas, the story is set in a house lavish enough to accommodate a joint family. The father is a silent doer. He almost does all the chores with his wife without complaining. Once when he does, he regrets it later.

So Rojin makes Oliver Twist, the father, aka Papa, the hero of his story. The perspective throughout is his and how he sees his ecosystem in a mansion unfold around him. Youngest son Charles (Nalsen), clever for his own good, is a lazy chap but still close to parents. Eldest Antony, a budding filmmaker is arrogant, and an outright toxic man, only spitting negativity because he has problems going on in his personal life. Of course, he has a soft corner too, but the arrogant side overpowers.

Now, Oliver, whom Antony sees like an average Joe good for nothing, has to become his son’s friend. He is also an old man wanting to learn the new technology, precisely smart phone. Home is a tale of a family we have seen or maybe one we are living in. The characters are people from around us, their problems and struggles are real, and so are their solutions. Thomas creates the main plot relatable to the tee and makes sure his audience connects to even the Fish Tank stand that breaks one day, signifying the chaos in the household and the pressure it has created. You will see.

Home at the core becomes a story of acceptance. Accepting your family with its simplicity, they need not be extra ordinary or superhumans to feel proud of them. Oliver Twist craves for his son to give him the same acknowledgement he provides to his overachiever father-in-law, but he never really gets angry at Antony for not giving it. Thomas definitely draws inspiration from people around him.

Rojin makes sure he doesn’t make Oliver a saint. In the beginning you see him being a rebel in front of his disabled father, and later when Sreenath’s Antony does it in full throttle, you observe genes have indeed passed from generation to generation.

But what pulls down the energy in this tale about love, longing, and acceptance is the writer deciding to branch out the story to the maximum. We are introduced to multiple conflicts that do have a stake in the summation, but not enough to invest our time into. For example, for a brief moment, Home acknowledges mental health, never to be spoken again. It talks about smartphone addiction, only to be used as a reason. It only becomes preachy and doesn’t add much.

Home Movie Review: Star Performance

Rojin Thomas wins a gold in casting. Every actor performing their parts to perfection and finesse. Indrans playing Oliver Twist is what experience does to a seasoned actor. Differentiating whether it is acting or documentation becomes difficult, and he wins heart with his smile. I was for real hurt when Antony burst out at him.

Sreenath Bhasi becomes the son parents don’t want theirs to become. He gets the tone right and becomes a layered character expected out of him. Nalsen K Gafoor gets to show his versatility in a week. A brainwashed teen in Kuruthi and a lively chap in Home, he has the charm.

Manju Pillai manages to win hearts even amid all these talented men. Her portrayal of the mother who is stuck between a family that is borderline crazy is worth watching.

Home Movie Review: Direction, Music

Rojin Thomas, in his writing and direction, is headstrong about one thing, and that is not having a hero in his film. It’s a family-like yours and mine, and this is the time camera zooms in into the ones it has neglected for years. He brings warmth in his direction, be it Indrans curiosity to learn smart phone, or him sad face that pierces out heart, he knows what draws audience.

Rahul Subrahmanian’s music serves the purpose and works well with the script, but I am not sure about the recall value.

Home Movie Review: The Last Word

It is a slice of life film for real. The family in Home is yours and mine. You will find characters that resemble people in your life. Watch Home and live the feel-good vibe for a few hours amid these testing times.

Home Trailer

Home releases on 19th August, 2021.

Share with us your experience of watching Home.

Check out our review of Sarpatta Parambarai , if you’re into good boxing dramas.

Must Read:  Sarpatta Parambarai Movie Review: Arya Is Impeccable In This Pa. Ranjith’s Winning Knockout Blow!

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Home movie review: Indrans' Malayalam film is a charming relationship drama

Home movie review: sometimes too sweets but most times heartwarming, rojin thomas brings to life a lovely family drama that is driven by indrans' effortless performance..

Malayalam cinema is quietly making an impact with its simple stories. At a time when filmmakers are running behind stars to make pan-Indian cinema; Malayalam industry is betting its money on close-to-heart stories.

Rojin Thomas’s Home, which joins the list of recent feel-good Malayalam movies like Vikruthi and Android Kunjappan, works its magic with a simple story of a technology-challenged father, desperately trying to bond with his sons in the digital age. Home is a charming relationship drama but is too sweet at times making it slightly unbearable. However, it does leave you with a smile on your face with some lovely moments.

Watch Home trailer:

Home follows the relationship between Oliver Twist (Indrans) and his elder son Anthony Oliver Twist (Sreenath Bhasi) over a period of a few weeks. Anthony, a filmmaker basking in the success of his debut film, is struggling to write his second movie. With an ultimatum from his producer, he comes home, a place where he wrote his first script, to find some spark. Anthony’s father is over the moon to see his son back home, and his excitement knows no bounds as he goes around telling his friends about Anthony’s next project with a superstar. With constant pressure from the producer to complete the project, Anthony’s relationship with his family falls apart while his father tries his best to keep everything afloat.

Also read: Netrikann review: Nayanthara shines in a safe adaptation of Korean thriller

What really works in the favour of Home is its simplistic storytelling. It doesn’t boast of a great storyline, but it manages to tug at heartstrings with a plot that’s peppered with some lovely moments and a heartwarming twist. The film does get needlessly long but it makes up for the length with some great performances from the lead cast. Veteran actor Indrans breathes life into the character of the father, who’s stuck between pleasing his sons and getting more comfortable with social media. Indrans makes this a great family drama with his effortless performance and the scenes between the members of the family are highly relatable. Sreenath Bhasi is equally good as the wayward filmmaker-son.

The film does touch upon sensitive themes like discussing meeting a psychologist, and how it’s not something to be ashamed about. There’s also a sub-plot about social media being both a boon and a bane. It’s a film you won’t mind recommending and it makes for a lovely watch with your family.

Director: Rojin Thomas

Cast: Indrans, Sreenath Bhasi and Vijay Babu

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HOME Review

Cast & crew.

Rojin Thomas

Rahul Subrahmanian

• Cinematography

Neil D' Cuncha

• Indrans – Oliver Twist
• Sreenath Bhasi – Antony Oliver Twist
• Manju Pillai – Kuttiyamma
• Nalsen K. Gafoor – Charles Oliver Twist
• Deepa Thomas – Priya
• Kainakary Thankaraj – Appachan
• Srikanth Murali – Joseph
• Johny Antony – Suryan
• Vijay Babu – Dr. Franklin
• K.P.A.C. Lalitha – Annammachi
• Anoop Menon – Vishal
• Maniyanpilla Raju – Producer Baby
• Geethi Sangeetha – Suryan’s Wife
• Asha Aravind – Joseph’s Wife
• Kiran Aravindakshan – Justin
• Fukru – Kichu
• Minon – Young Oliver
• Ashlin Joseph – Young Suryan
• Priyanka Nair – Young Annammachi

Home is 2021 feel good, family entertainer by Rojin Thomas , starring Indrans , Sreenath Bhasi , Manju Pillai , Nalsen K. Gafoor ,  Vijay Babu, Srikanth Murali and others.

Like the name, the movie Home is about the life of a family. Oliver Twist (Indrans) lives with his wife Kuttiyamma (Manju Pillai), his two sons Antony (Sreenath Bhasi) and Charles (Nalsen) and his father (Kainakary Thankaraj). His elder son Antony has completed his debut film, which became very successful. But later on, he lost his focus and commitment and struggling to finish the script of his 2nd film planned with a big superstar. When the producer saw him struggling to write in his dirty room, he asked Antony to complete the script from his home, where he wrote his 1st movie. As seen in any other house nowadays, Antony and Charles are addicted to mobile phones and social media applications. Upon excitement, Oliver Twist also wishes to buy a smartphone and learn to use social media and other applications with the help of his sons. The rest of the movie shows how the mobile phone changes Oliver Twist and his family’s life and how they manage to retain happiness and unity in their family.

Indrans as Oliver Twist made everyone stun. Oliver Twist is a well deserved and career-best character for him. His body language and modulations made the character feel real. It is doubtful anyone in the industry can carry a character like him. The actual innocence and simplicity of Indrans are reflected in Oliver Twist as well. In a scene he hides emotion from his family by standing outside the house, it was a brilliant performance. That smile of Oliver Twist at the end make our heart fill with emotions. Manju Pillai as Kuttiyamma is another apt casting. She was exactly like a mother, who loves her family a lot and is strict at times. There’s a scene she says there’s not a good photo of her in their family album. It is actually a reality for many. Kuttiyamma is a different character in her career. Srinath Bhasi , as usual, was very natural. He was calm throughout. His dialogue delivery and acting were excellent. Nalsen is surprising with his all recent character. He has a bright future in the industry. Deepa Thomas and Johny Antony were fabulous. Rest all the cast did their part perfectly.

Home is a kind of rare movie that fills your heart with happiness and satisfaction. After a long time, Malayalam Cinema witness an entertaining, feel-good film. With a lot of emotions and fun, the movie Home keeps you entertained throughout. Even though the movie is lengthy, we never feel any lag or non-relatable scenes. All the departments did a good job. Especially the cinematography and background scores. Rojin Thomas ‘s writing and filmmaking deserve the whole praise for this fabulous heartwarming film. Home will always be one of the best feel-good movies in Malayalam.

Positives & Negatives

• Movie Star Cast
• Story and Screenplay
• Songs and BGM
• The movie's lengthy duration

Review & Rating

First day reports rating.

Review : Home is a heartwarming feel-good entertainer by Rojin Thomas with incredible performers like Indrans, Sreenath Bhasi, Nalsen, Manju Pillai and others. Highly recommended!

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Karthick Karthick 51 days ago

User g 312 54 days ago.

Directed and made well. Actors are good.Good cinematography. What went wrong is glorification of drugs and alcohol. After all there is a reason for all the warnings on the screen.Drug dealers and booze makers will be very happy for all the free sophisticated and chick advertisement.

Anvi Upadhyay 16 59 days ago

There are lots of people going through this.&nbsp;<br/>Modern society is currently facing the independence of women and the end of misogyny and patriarchy because of which so many men and even women are unable to cope up with the change. This leads to high male ego in some men. This movie really spoke a lot about curing the inner self conflict first before committing with someone else because hurting your partner is never justified.&nbsp;<br/>Alcohol is so much stronger than the grass. It gets people so violent. How is it not banned? So many husband's are doing domestic violence after getting drunk!&nbsp;<br/>Such a real movie! Indian crowd really needs to grow up if they didn&rsquo;t understand the complexities of this film.

Gwen Richard 385 64 days ago

Hero is useless and heroin is semi useless. Movie never give good impression. Manikandan look so horrible for this movie. Romantic movie should show good teachings for future generations. This kind of movie will make youth scared to commit. Psycho director.

Manmath Behera 1 66 days ago

Not happy feeling this movie

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Review: In a Nostalgic Revival, ‘Home’ Is Where the Heart Was

Samm-Art Williams’s 1979 play about the uprooting of a Black farmer returns to Broadway for the first time.

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By Jesse Green

To say that Samm-Art Williams’s 1979 play “Home” is old-fashioned is to say that “The Odyssey” and “The Wizard of Oz” are too: They are all tear-jerking stories about lost souls working their way back to the proverbial place where the heart is. But another way to see them is as keen records of how we thought, at particular points in time, about our place in the universe. Is that ever old-fashioned?

For “ Home ,” which opened on Wednesday at the Todd Haimes Theater, the particular point in time is the tail end of the Great Migration, bringing millions of Black Americans to the North from the South in an attempt to escape racism and poverty. Among them is the play’s protagonist, Cephus Miles, a North Carolina farmer who winds up in a big city a lot like New York after spending five years in prison. His crime: taking too seriously the biblical commandment to love thy neighbor and the injunction not to kill. He refused to serve in Vietnam.

Though the outline of the story might seem to warrant a furious response, like that of many antiwar and antiracist works of the ’70s, “Home” follows a different line, its honeyed cadences glazing its anger with affection. That’s apt because Williams is ultimately less interested in the embitterments of the world than in the ability, indeed the necessity, of masking the bad taste of unfairness with love.

And Cephus (Tory Kittles) is certainly not angry at the South. His memories of hard work, tall tales and odd characters in segregated, fictional Cross Roads — likely based on Williams’s Burgaw, N.C. — are surprisingly upbeat. The poverty, being general, is bearable. (And funny: If a possum falls into the moonshine still, so be it.) The racism shows up mostly as marginalia, implied rather than prosecuted. Black boys shoot dice in the white section of the cemetery, Cephus tells us, because “that’s where the nice cement vaults were.” The Black section’s graves provide no level surface.

The nostalgic style, unfashionable for decades, may be why “Home” has not until now been revived on Broadway, despite its successful and much-praised premiere . Kenny Leon’s production for the Roundabout Theater Company — a result of the company’s Refocus Project , designed “to elevate and restore marginalized plays to the American canon” — is thus especially welcome, if perhaps overly faithful to the original vision. With golden light (by Allen Lee Hughes) and a set consisting mostly of a rocking chair and a tobacco field that make the sharecropping life look strangely inviting (scenic design by Arnulfo Maldonado), it steers right into instead of away from sentimentality, giving us the full flavor of the writing at the cost of courting hokum.

Likewise, the play’s dramatic method prevents its grimmer parts from being fully effective. The narrative is mostly a monologue for Cephus, fleshed out by two actors (Brittany Inge and Stori Ayers, both excellent) who provide quick-take sketches of preachers, loose women, drunks and old aunties. It sometimes feels like a variety show.

But few variety shows have leaned as hard into lyricism as “Home,” which began as a poem Williams wrote on a bus ride home to North Carolina for Christmas. There is something of the road’s reverie in its rhythms — not a surprise from an author whose greatest influence, he said, was “The Raven.”

Though the language is rich, recalling Black spoken word traditions and anticipating the dominance of rap, the technique is more mesmerizing than theatrical here, especially as sped through by the prodigious Kittles to keep the show moving. I wanted to sit with Cephus a bit longer because right from his Homeric first line — “I once rode a swift, strong horse. Hooves of sterling. Coat of white” — he is clearly a bard, whose words need space.

The hectic pace is less of a problem as the play grows graver, moving from Cross Roads to prison to the “dry, ugly, hot, mean” North. There, the supports that formerly sustained Cephus through adversity fall completely away: his land, his honor and his love of music. (“Blues and jazz has choked and gagged me with my own spit,” he cries.) The woman he finds in the city (Ayers again) loses interest the moment he loses his job; the woman he loved in his youth — Patti Mae Wells (Inge again) — is an almost irretrievable memory.

But do not fear. This is not the kind of play to abandon you in a dark alley, even if Cephus’s distaste for city life is the most compelling and counterintuitive part of the story. Plot machinations that you will see coming at quite some distance deliver a happy ending and may even elicit a few nonconsensual tears.

No matter: They cleanse the soul just the same. Williams, who died a few days before this revival’s first preview , seems to have been willing to go anywhere to free his hero from despair as a way of freeing the rest of us, too.

Home Through July 21 at the Todd Haimes Theater, Manhattan; roundabouttheatre.org . Running time: 1 hour 30 minutes.

Jesse Green is the chief theater critic for The Times. He writes reviews of Broadway, Off Broadway, Off Off Broadway, regional and sometimes international productions. More about Jesse Green

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• Theater, Drama
• Todd Haimes Theatre, Midtown West
• Until Jul 28, 2024
• 3 out of 5 stars
• Recommended

Time Out says

Broadway review by Adam Feldman 

The revivals that Kenny Leon has directed on Broadway form something like a syllabus of modern African-American drama, from Loraine Hansberry to August Wilson to Suzan-Lori Parks . Last season, that project brought him to Purlie Victorious , in which a Black man travels to his birthplace in the South to reclaim his place there in triumph; now Leon follows it with a play in which a different rural homecoming seems less happy, at least at first. But don’t give up too fast: Home , after all, is where the heart is.

Cephus Miles (Tory Kittles) is a broken man at the start of Samm-Art Williams’s play, which is now at the Roundabout’s Todd Haimes Theatre. After a long exile—first in prison, then in a big city up north—Cephus is back in his not-so-subtly-named hometown of Cross Roads, North Carolina. In a rocking chair on the porch of his childhood home, he seems to have nowhere to go; his right hand has a tremor, and the noisy local kids think he’s a ghost. (Like all of the roles except Cephus, these taunting brats are played by the gifted duo of Brittany Inge and Stori Ayers, who move among dozens of characters with big swings of affect and voice.)

But for Home , which debuted downtown in 1979 under the aegis of the Negro Ensemble Company before moving to a successful Broadway run the next year, Cephus’s weary return after many trials is not a defeat. Like Cephus himself, the play has an abiding faith in the eventual goodness of the Lord above—despite a running joke about how He seems to be on vacation—and a deep-rooted belief in the value of hard, honest work. “If there was ever a woman or man who has everlasting grace in the eyes of God, it’s the farmer woman and man,” the chorus tells us. “Tenders to the soil. Children of the land.”

Home | Photograph: Courtesy Joan Marcus

When Cephus is spinning tallish tales about his childhood, even the darkest stories are full of lively good humor. But things begin to go sour when the love of his life, Patti Mae (Inge), dumps him to go to college; and when he refuses, on principle, to fight in the Vietnam War, that spells the end of his anything-but-idle idyll of life on the farm. The lush tobacco and corn of Arnulfo Maldonado’s set give way to an empty city framed by metal fire escapes. And while Cephus finds success up north for a while—and a new lady friend, the candidly materialistic Myrna (Ayers)—his life there quickly goes south. He can’t outrun his past, and deep inside he’s still a country boy. As Patti Mae says: “It’s no kind of life for a person, outside the Cross Roads. They don’t understand you.”

Williams’s nostalgia for trad Black life seems to stem from disillusionment with American culture in the 1970s, though it seems fair to ask whether he’s just replacing one illusion with another. And if the play’s sentimentality seems somewhat quaint, so do some of its very 1970s theatrical approaches, including interludes of verse. Home drags at the start, when the chorus is prone to portentous interchanges, and the section before Cephus goes to prison feels slow (even though much of it is delivered by Kittles at breakneck, auctioneer-style speed); one wishes, too, that Williams explored Cephus’s pivotal decision to defy the draft more clearly.

Yet the play gains momentum as it goes on, thanks partly to the engaging commitment of the cast but also to Wiliams’s skill with specifics: This play shines in the details. By the end it has won you over into joy. I left grateful to have seen this piece of Black history on Broadway again. Welcome back, Home . You’ve been missed.

Home . Todd Haimes Theatre ( Broadway ). By Samm-Art Williams. Directed by Kenny Leon. With Tory Kittles, Brittany Inge, Stori Ayers. Running time: 1hr 30mins. No intermission. 

Follow Adam Feldman on X: @FeldmanAdam Follow Time Out Theater on X: @TimeOutTheater Keep up with the latest news and reviews on our Time Out Theater Facebook page

Dates and times

Thu, Jun 6, 2024 7:00 PM Todd Haimes Theatre $78–$329

Fri, Jun 7, 2024 7:00 PM Todd Haimes Theatre $78–$329

Sat, Jun 8, 2024 2:00 PM Todd Haimes Theatre $78–$329

Sat, Jun 8, 2024 8:00 PM Todd Haimes Theatre $78–$329

Sun, Jun 9, 2024 3:00 PM Todd Haimes Theatre $78–$329

Tue, Jun 11, 2024 7:00 PM Todd Haimes Theatre $78–$329

Wed, Jun 12, 2024 2:00 PM Todd Haimes Theatre $78–$329

Wed, Jun 12, 2024 7:00 PM Todd Haimes Theatre $78–$329

Thu, Jun 13, 2024 7:00 PM Todd Haimes Theatre $78–$329

Fri, Jun 14, 2024 7:00 PM Todd Haimes Theatre $78–$329

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