It took me a good 30 minutes or so to get sucked into the mystical universe of Malaikottai Vaaliban. Still, once I did, I'm guessing I enjoyed it more than 90% of the audience.. gauging from the varied reactions at the cinema hall. This film marries the sensibilities of a large-scale Puranic opera with the narrative style of a Kurosawa Samurai flick and the visuals of a Sergio Leone western. Since we've seen how much the hype train has damaged a Mohanlal film in recent times, I chose to largely disregard the "claims" made in the promotional interviews in the run-up to its release. And that helped. Knowing I had sat down for an LJP directorial was enough assurance of the film being inherently unpredictable and not your regular fast-paced crowd-pleaser.
This helped me appreciate Madhu Neelakantan's postcard-like frames a lot more (especially the extended static shots that bored most viewers). Yes, they did feel as overindulgent as LJP's use of slow-motion in the action blocks. But I was already sold. This bizarre universe, its distinct plot developments, and oddball characters gradually grew on me. The sudden shifts in tone (from soapy to violent to farcical to philosophical), Prashant Pillai's use of folk instruments to underline some of the set pieces, and even the stupid love-plus-revenge-triangle in the second half, which normally would have killed even the tiniest bit of interest in me - I was able to digest most of it. That said, I did not feel vehemently connected to any of the characters including the protagonist, and it was the aura created through sheer audio-visual magic that kept me fascinated.
Malaikottai Vaaliban heavily invokes the feeling of reading an Indian comic book based on local legends, and LJP has tried to play it to his strengths. It hasn't really fired on all cylinders, but I'd still appreciate him for not half-arsing it. The work of the art & production design departments is essential in letting you connect with the lore of this particular land. P S Rafeeque's writing works when it's busy building to a key moment, but is archaic as hell when it revolves around the tropes of romance or lust. The female characters (and the transwoman), especially, are poorly etched. The colonists are too caricaturish, reminding you of LJP's own Double Barrel. When the film finally poses a pertinent question on an indomitable warrior's existential crisis, it gets too busy building to a sequel that may not even happen. Argh, why even bother?
This helped me appreciate Madhu Neelakantan's postcard-like frames a lot more (especially the extended static shots that bored most viewers). Yes, they did feel as overindulgent as LJP's use of slow-motion in the action blocks. But I was already sold. This bizarre universe, its distinct plot developments, and oddball characters gradually grew on me. The sudden shifts in tone (from soapy to violent to farcical to philosophical), Prashant Pillai's use of folk instruments to underline some of the set pieces, and even the stupid love-plus-revenge-triangle in the second half, which normally would have killed even the tiniest bit of interest in me - I was able to digest most of it. That said, I did not feel vehemently connected to any of the characters including the protagonist, and it was the aura created through sheer audio-visual magic that kept me fascinated.
Malaikottai Vaaliban heavily invokes the feeling of reading an Indian comic book based on local legends, and LJP has tried to play it to his strengths. It hasn't really fired on all cylinders, but I'd still appreciate him for not half-arsing it. The work of the art & production design departments is essential in letting you connect with the lore of this particular land. P S Rafeeque's writing works when it's busy building to a key moment, but is archaic as hell when it revolves around the tropes of romance or lust. The female characters (and the transwoman), especially, are poorly etched. The colonists are too caricaturish, reminding you of LJP's own Double Barrel. When the film finally poses a pertinent question on an indomitable warrior's existential crisis, it gets too busy building to a sequel that may not even happen. Argh, why even bother?