When we engage with a film, our interpretation and reaction to it is influenced by a plethora of factors – from our own life experiences to the current social and political climate and even the mood we’re in on the day we view it. In an era where divisive and hateful rhetoric has alarmingly become commonplace, a section of the audience, especially those with progressive views, might find themselves rooting for a cinematic piece that tackles the rampant issues of communal polarization. Such is the premise of the film ‘Malayalee from India’, which arrives with a motive to strike at the heart of these societal divides, even as it falls short in other cinematic respects.
Helmed by filmmaker Dijo Jose Antony and scripted by Sharis Mohammed, ‘Malayalee from India’ marks their third collaborative effort. The film seems to be underpinned by a pressing need to address political matters – a commendable effort for its stand, though it seems to be pieced together with less finesse than one might desire. Leading the film is Nivin Pauly, whose charisma and on-screen presence are undoubted, yet these alone cannot mask the shortcomings of the film’s construction.
One is almost immediately struck by the film’s propensity to garner quick applause through overt political statements instead of cultivating a narrative of genuine conviction. The storyline, weighed down by its apparent political gravitas, often resorts to contrived scenarios to emphasize its viewpoints. The result is a depiction of policy and social commentary that lacks in subtlety and requests the audience to accommodate its forthrightness.
Nivin Pauly revels in his comfort zone, playing Alparambil Gopi – a role that harkens back to his early work in movies like ‘Oru Vadakkan Selfie’. In this particular outing, he dons the additional layer of a sympathizer with right-wing, communal politics. Alongside his co-conspirator Malghosh, portrayed by Dhyan Sreenivasan, Gopi’s actions stir trouble, disrupting the tranquil fabric of his village. The narrative trajectory follows Gopi’s ideological transformation as he bridges the gap with those he once despised without question.
The director’s signature style, characterized by an overt dramatic flair and a tendency to tell rather than show, is palpable throughout the film. It echoes his previous work ‘Jana Gana Mana’, hinting at a continuation of his narrative approach. Some attempts at humor manage to hit their mark, but the bulk waver and miss, overshadowed by the palpable force with which contemporary issues are interwoven into the story. At points, the film overtly shifts gears, evoking resemblances to the narrative of ‘Aadujeevitham’, and later, introducing a character reflective of the Nobel laureate Malala Yousafzai.
Once again, in a disappointing continuation of a trend observed within the Malayalam film industry, female characters are inadequately developed and often sidelined. With the exception of Manju Pillai, who enjoys a semblance of the spotlight as Gopi’s mother, other actresses like Anaswara Rajan are relegated to brief appearances that barely leave an imprint.
Despite its well-intentioned critique of communal politics and its undeniable position against such ideologies, ‘Malayalee from India’ concludes as a middling cinematic experience. Its penchant for didactic delivery and contrived storytelling detract significantly from its potential impact. A touch more subtlety and a more naturally woven narrative could have rendered it a powerful and poignant commentary on the times we live in.
At present, ‘Malayalee from India’ continues its run in theaters, offering audiences an opportunity to witness a film earnest in its message but conflicted in its method of delivery, posing the question of how cinema should navigate the representation of pressing social issues amidst the expectation of entertainment.
