- Date of Release: 28 August 2025
- Genre: Drama, Comedy, Romance
- Language: Malayalam
- Watch On: Theatres Only
Hridayapoorvam
Introduction
There is an interesting similarity between the protagonists of the new Malayalam film Hridayapoorvam and Pachuvum Athbhuthavilakkam (2023). When you are first introduced to Sandeep (Mohanlal), you see him being heavily involved in his business of running a cloud kitchen in Kerala. This, despite him undergoing a recent heart transplant. You can interpret the 50-something character to be recluse, almost having given up on his materialistic life while using his business as a medium for distraction. Pachu (Fahadh Faasil) also remained a recluse person in PA, using his loneliness as a means of survival. Interestingly, both these characters have been rejected by women, with Sandeep in particular having suffered a heartbreak at the alter table. It is interesting on how this heartbreak is also used in the literal sense for Sandeep – who is shown to have undergone a heart transplant when he receives a heart from a donor Col. Ravindran, that gives him a new lease of life. This new lease of life is also equated to Sandeep getting a chance to meet new people who would truly change his life for the better.
Story & Screenplay
Written by Akhil Sathyan and Sonu TP, the basic premise of Hridayapoorvam has an old world charm to it. A character receiving a heart of another character, only to open newer possibilities for him even in terms of relationships is a tried and tested formula on celluloid. But there is an inherent charm in the proceedings that tilts the drama towards a comedy, which remains a self-aware tone in its hindsight. As a result when you start getting acquainted with Sandeep, there is a reliance on humour to bail him out of his misery – be it with his brother-in-law who is after his share of the land, or his reclusiveness that seems to hide a tragedy or two within him. The latter is often interjected through a hilarious subplot involving his ex (who had fled from their wedding) reconnecting with him over a video call in order to get back together. Or even Haritha (Malavika Mohanan) who chooses to meet the person who has her father’s heart!
There is an emotional streak running parallelly that finds its voice defty, when Haritha meets Sandeep for the first time, while also inviting him for her engagement. The emotions lie in the reminiscence of her father’s memories, citing an emotional support of sorts during major events of her life – with her engagement being perhaps the most important one. The reluctance of Sandeep is soon engulfed in this emotional passage, prompting him to visit the city of Pune – wherein fate has other plans for him including his extended stay owing to an injury and a possibility of finding love again!
The proceedings are breezy and deliberately low stake that cuts through the potential melodrama that the drama may have otherwise offered. Even when you are introduced to Haritha’s mother Devika (Sangita), who is potentially hinted to be the third wheel in potential relationship between Sandeep and Haritha, the writing doesn’t wish to fully commit to ‘romance’ dynamic between either of the three characters. It is this low-key stake that is often accompanied with humour or just about deft emotions that would subtly prick your heart but seldom pierce it. For instance, in a scene you see Devika opening up to Sandeep on how ‘someone’ has taken her side for the first time. You instantly get an impression that she is conveying the emotions to her late husband and not so much Sandeep, wherein the writers choose not to complicate the proceedings.
In all of it, there are two characters that stand out – one being Sandeep’s goofy but heartfelt nurse Jerry (Sangeeth Prathap) who contributes hilariously to the humour of the film, wherein the makers tactfully use him at crucial junctures in the screenplay. The second remains of Col Ravindran who isn’t seen at all (and neither is he given a flashback to deviate the focus of the screenplay). It is only through interactions that you get an idea of his personality – be it his tiff with his father-in-law, or a neglecting and strict husband or even a loving father. This serves two purposes in the drama – it allows the characters to reminisce about his presence while staying fixated to the gaze of Sandeep who suddenly has a family of his own (with relationships that are platonic).
On the downside, the screenplay briefly meanders in the second half wherein not all plot-points come together. For instance, the plot-point involving Sandeep’s father-in-law that began with much promise and humour, doesn’t always find its footing early on in the second hour. The other subplot involving Haritha’s tryst with her fiance often acts as circuit-breakers in the narrative, that moderately deviates from the emotional core of the protagonist. The subplot involving film-students works in isolation with some great meta-references along the way, but doesn’t necessarily tie up to the main plot.
However, the biggest plus with respect to the writing remains on how the tone of the drama is never compromised – it is light and frothy with a hint of emotions almost sprinkled like salt in food that indeed adds to the taste in the drama. The relationships tilt towards being platonic almost maturing in a similar fashion like Sandeep, in what can also be viewed as his coming of age tale of sorts. And when the arc is complete at the end, you do look back and sport a smile in what is a beautiful feel-good drama when viewed from the hindsight!
Dialogues, Music & Direction
The dialogues are sprinkled with frequent bouts of humour, and that remains the driving force of the drama. This consistent pattern never weighs down the drama while consistently keeping it light and frothy. The music by Justin Prabhakaran is soothing and also uplifting at times, almost being a commentary on the alternate gaze experienced by Sandeep from reclusiveness to togetherness. The BGM deftly elevates the drama much like sprinkling water on leaves to freshen up the surroundings. And while doing this, the emotional core of the drama is also effectively retained. The cinematography has a sense of vibrancy with its colour palate used in the film. This goes well in sync with the light and frothy themes of the film, while doing its bit in uplifting the drama. The editing pattern is simplistic but effective in allowing you space to stay connected to its characters even on an emotional level.
Director Sathyan Anthikad keeps things simple here without trying to venture into an ambitious space. And while you see him at times trying to keep up pace with a generational upgrade in terms of filmmaking, this feature of keeping things safe works wonderfully in his favour. One of the director’s fortes over the years has been comedy, and you see how seamlessly the humour is integrated in the narrative here. Even some of the emotions land, and had some of the subplots been edited out, the impact of the direction would have been even more taut and impactful. Nevertheless, the direction is still pretty solid here wherein the director looks to stay committed to the tone of the proceedings through and through.
Performances
The performances are really good by the members of the cast. Veterans like Siddique and Lalu Alex sprinkle the narrative with frequent bouts of humour. Sangeeth Prathap as Jerry has a brilliant sense of comic timing, and he nails his one-liners wonderfully well. The makers have also used his character effectively in injecting humour in the narrative, and Sangeeth delivers wonderfully in that regard. Sangita as Devika is nicely understated and does a good job in concealing her pain through the display of subtle emotions along the way.
Malavika Mohanan as Haritha is splendid to the core in a character that is an accurate representation of cross cultures. She is shown to be speaking in multiple languages that adds authenticity to her character. On the emotional front, she manages to impress too – using her expressions and body language to gently convey her emotions brimming beneath the surface.
Mohanlal as Sandeep is an imminently likeable character given his light-handedness towards life. There is an inherent sense of humour in him that automatically makes him charming. And yet when the time arrives, he performs even the most emotionally complex scenes with utmost ease – sailing through the narrative while constantly keeping you engaged. His finale speech is heartfelt wherein you even spot a little tear in his eye, giving you an impression that he has immersed himself in the emotional core of his character, without compromising on his humourous trait. The character arc was that of coming of age and maturity, and he pulls that off with utmost conviction. And with that, it is a hattrick for Lalettan this year with three distinctively different roles and three winners! It is safe to say that he is back with a bang!
Conclusion
Backed by solid performances, Hridayapoorvam is a near perfect feel-good Onam outing that delivers with a drama that is heartfelt and humourous in equal measures. And it remains that low-stake drama that will put a smile on your face by the end of it. Available in a theatre near you.