- Date of Release: 25 January 2024
- Genre: Action, Drama, Fantasy
- Language: Malayalam
Malaikottai Vaaliban
Introduction
Thank God It Is Friday but we are staring at another quiet weekend with almost no new release in store. And with the next weekend stacked up with releases aplenty, I do have some time on my hands to either explore for new content or simply bridge the gap in terms of yhe content that I may have missed out on previously. With that, I decided to watch and review the new Malayalam film Malaikottai Vaaliban which was last weekend’s theatrical release starring Mohanlal and directed by one of my favourite filmmakers Lijo Jose Pellissery(LJP). Now while Mohanlal did find some form towards the end of 2023 with Neru after a string of disapponting releases, all eyes were set on his collaboration with LJP, who on the other hand is known to make absurdist cinema of the highest order.
I must admit that I would have got to Malaikottai Vaaliban sooner if not for its extreme polarizing opinions floating on the internet. When a film is out, you often do get a fair idea on how the film has been received. But with Malaikottai Vaaliban, it was probably the most mixed verdict that I had come across in a very long time. And hence, it did make me skeptical before venturing into the theatre. My main motivation for the same were the praises for the cinematography and sound design, something that I really wished to witness on the big screen as I approached the film with a blank slate. So then, does Malaikottai Vaaliban manage to impress, let’s find out.
Story & Screenplay
Set in a fantasy world, Malaikottai Vaaliban is the story of a drifting warrior who remains undefeated through the various challenges that he faces along the way. Yet will he be able to escape the twist of fate presented before him? The story here is probably unlike anything that I have watched before. Picture this – the story here is an amalgamation of a Kurosawa film set in a fantasy world with a Western flavour and shades of a Shakespearean tragedy doubled with Sholey and a ballistic foreign land rule. Phew! Does that make sense? Watch the film to find out. And almost instantly, I took a liking to this world which was so different and formulated one of the most different cinema watching experiences for me since Kantara(and I am so happy that I did make a trip to the cinema given that this film would never have the same impact on OTT). The screenplay standing at 150 odd minutes is unique in every sense of the word that shifts tones through the various chapters unfolding in the narrative. And this is precisely why the audience may have been divided as it didn’t allow them to settle into a single form of narrative while combining the tale of 5 different films in a single outing. Having said that, I admire the director’s vision and the screenplay had an uncanny technique of sucking you in the narrative despite being slightly under-written with the character development(only a touch).
The drama opens in a barren setting featuring beautiful wide angle shots in a desert that instantly give the vibe of a Western. The slow and leisurely approach is quite evident in the fact that the entry of a bullock-cart takes an eternity to reach center-stage. But in this setting, the writers are clear with the objective of introducing the protagonist who is shown to be a powerful and undefeated warrior drifting from one location to another almost like a nomad. And in the process of winning, he is capable of winning the wife of his opponent while the latter has to shave off his head and live in abandon or serve Malaikottai Valiban. The multiple conflicts in the screenplay arise in the form of situations that are presented in the life of Valiban that accounts for the many twists in his life with respect to the relations that he shares with folks around him.
Now films like these are a little difficult to articulate from a reviews standpoint given that if you go looking for a story and screenplay then it may be wafer thin. Yet, the reason why the writing did work for me is because that was the intended emotion of presenting a fantasy world split across different worlds and tones. If you are entering the film expecting it to be a Bahubali then you will definitely end up being disappointed. Instead, if the approach is to surrender to the vision of the filmmaker as he makes you tour past the different tonalities of the drama then you may end up liking it. And I absolutely loved the world building in the first hour that established the interpersonal relationships between the protagonist and the characters around him pretty well. There was an underlying layer of eccentricity sprinkled with the right amount when it came to the genre marriage of a Western and a Kurosawa film that sets up things pretty well at the halfway mark.
The absurdity in the drama doesn’t end there with almost a ballistic 30 minute sequence at the fort that at times pays homage to Sholey while presenting it in the form of a parody. The indulgence of the maker doesn’t end here by maneuvering the storyline towards a Shakespearean tragedy which was a crazy thought on paper by a country mile. So while there is a little dip in the screenplay, I must admit that I was invested in the drama with all the setup leading up to its final act. Yes, you could briefly argue that some of the characters could have been established further, but remember that the major part of the film was through the gaze of the protagonist which was the sole focus of the writing. The little setup at the end does make for an interesting second part thus summing up the screenplay which is brave in many ways and one of the better fantasy dramas that I have witnessed.
Dialogues, Music & Direction
The dialogues have an uncanny quality of transporting you to the fantasy world that the drama is set in. The music is good but it is the BGM and the sound design that truly takes the cake. The heaviness of the undertones almost made my seat shake everytime while adding a rustic flavour with the Dhol beats that represent the aesthetics of the world with perfection. The cinematography is indeed one of the best that I may have witnessed onscreen for a very long time. The wide angle shots capture the rustic beauty of the landscapes exquisitely while allowing action to unfold during the process much like European cinema does. Even some of the action set-pieces, particularly the one at the fort are captured in a stunning manner with the right amount of slow-mos introduced. The area of improvement for me was in the editing of the action set-pieces that had far too many jump cuts for my liking as opposed to a single one-shot sequence that would have added a lot of weight to the scenes while elevating its impact. Director Lijo Jose Pellissery must be admired for this brave attempt simply in terms of his eccentric vision. Yes, he has pushed the envelop with films like Churuli and Nanpakal Nerathu Mayakkam but to envision a fantasy drama of this scale was unbelievable. I hope the criticism around him doesn’t deter his confidence because the direction is actually good here wherein he does balance the erratic moments with bouts of stillness and silence. The direction is pretty good here.
Performances
The performances are wonderful by the ensemble cast. Diana Nasonova as Lady Macaulay and Andrea Ravera as Maharaj Macaulay are excellent despite their limited screen time and both of them create a solid impact. Suchithra Nair as Madhangi, S Harikrishnan as Mangottu and Manikanda Rajan as Adima are wonderful additions to the screenplay and all of them manage to shine. Sanjana Chandran as Thenamma is nuanced and layered with her act in a character that slowly sows seeds of distrust in the third act. Katha Nandi as Jamanthi is a treat to watch with her playful note to her character that truly blooms into something more intense as the tale progresses. And her expressions are to die for! Sonalee Kulkarni as Rani looks pretty and has a quiet little charm to her character that transitions into naivety and rage in the third act, again very well controlled by her.
Danish Sait as Chamathakan is an absolute revelation. Firstly, his casting was interesting given that he hasnt really essayed an out and out grey character earlier. And here he is phenomenal with his persona and his cackle that adds layers to his eccentric character. Manoj Moses as Chinnappayan is sincere and earnest and plays the perfect foil for the protagonist just before a tragedy waiting in the wings adds another shade of revenge to his character. Hareesh Peradi as Ayyanar is wonderfully understated for most parts of the film that actually makes his character special given the twist at the end. Mohanlal as Malaikottai Vaaliban is back and how. While 2023 did mark a mini comeback of sorts for him, here he was truly surrendering to the vision of the director and giving it his all in a monumental performance. Needless to point out that his screen presence was emaculate and he excelled in his character wonderfully well.
Conclusion
Malaikottai Vaaliban might be the most polarizing film of recent times and niche in many ways but it is unique genre-bending eccentric fantasy drama that is unlike anything that you may have seen previously. This is a brave attempt by Lijo Jose Pellissery in a drama that should be best watched without any preconceived notion and if possible on the biggest screen possible as the impact of the drama will never be the same in the comfort of your homes! Available in a theatre near you and Highly Recommended!
