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| A picture of Mohanlal from 'Malaikottai Vaaliban'. |
In the realm of cinema, the allure often lies in the collective experience, yet there's a tendency to marvel at individual components. "Malaikottai Vaaliban" boasts exceptional fragments – a prisoners' uprising adorned in a riot of colors within an ancient fortress, a captivating masquerade leading to revelations, Madhu Neelakandan's striking long shots, a play of light and darkness, immersive sound design in a rugged landscape, Prasanth Pillai's memorable background score, and a couple of standout performances. Lijo Jose Pellissery's film promises much, especially with the collaboration of Lijo and Mohanlal, but the outcome falls short of the sum of its parts.
Despite technical prowess evident in flawless execution, the disconnect surfaces between scripting and editing. Lijo and screenwriter P.S. Rafeeque weave an Amar Chithra Katha-style folk tale in a timeless setting, infusing elements of samurai films and spaghetti westerns.
Vaaliban (Mohanlal), a nomadic fighter, engages in town-to-town conquests, leaving a trail of admirers and flings. The narrative takes a unique turn when Rangarani (Sonalee Kulkarni) falls for him, and revenge brews in the heart of Chamathakan (Danish Sait), the defeated adversary.
While potential exists in various narrative threads, they remain underexplored. The emphasis on visual and auditory spectacle sidelines character development. The screenplay struggles to gain momentum, resulting in a rushed and forced conclusion, except for Ayyanar's storyline, which resonates authentically.
Mohanlal injects believability into the larger-than-life character, displaying a softer side skillfully. Unfortunately, even his portrayal succumbs to the limitations of underwhelming writing. Danish Sait, as Chamathakan, stands out with a well-defined character, a rarity in the film.
Lijo's experimental touch, evident in nods to classic cinema, fails to mask an overall sense of disappointment. "Malaikottai Vaaliban" falls short not in lacking mass appeal, but in neglecting a substantive narrative. The prospect of redemption lies in the promised sequel, where substance may finally complement style.
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