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Prithviraj Sukumaran, the actor, is perpetually constrained by certain elements. It’s not that he’s a terrible actor, but many of his characters embody similar traits and he ends up portraying these roles with identical body language. They often appear tense and intense, with a rigid demeanour, simmering with perpetual anger, or resembling a volcano on the brink of eruption, and exude an extremely muscular, hyper-masculine image. It’s as if this is his comfort zone, and he prefers not to go beyond it.
Even when he ventures into roles that break away from this typecasting, it seems like these traits continue to haunt him persistently. Hence, there are only a few films where Prithviraj has truly transcended these constraints and among such works, Lal Jose’s Ayalum Njanum Thammil (Between Him and Me, 2012), penned by Bobby and Sanjay, stands as a benchmark for both the actor’s performance and the sheer brilliance of the project.
A powerful film that emphasises the complexity of the concept of medical ethics, showcasing that its true essence cannot be taught solely through definitions but requires a genuine willingness to learn, Ayalum Njanum Thammil follows the story of Ravi Tharakan (Prithviraj Sukumaran) and traces his transformation from being a medical-degree holder to a doctor.
Ravi Tharakan is a character that any actor would eagerly long to portray, primarily due to its intricately woven arc that comes full circle by the conclusion, after traversing a range of emotions and various stages of life.
The movie begins with a tense sequence as a young girl, gravely ill, is brought to a hospital by her parents, urgently requiring surgery. The on-duty doctor in the ICU urgently contacts Dr Ravi Tharakan, underscoring his expertise in the operation. However, Ravi’s intro isn’t accompanied by dramatic background music or hype. Instead, he walks into the frame from the darkness, pressing the top part of his nose bridge, either to alleviate pressure from wearing his glasses for an extended period or due to a headache, both indications of a long day.
In spite of Ravi’s insistence on the surgery, the girl’s father refuses, expressing distrust in the procedure and fearing for his daughter’s life. The mother, here, much like in most Indian families, is not given any opportunity to voice her opinion. Nevertheless, Ravi proceeds with the surgery, despite the family’s objections.
In contrast to the conventional portrayal of a protagonist beginning their journey with triumph, Ayalum Njanum Thammil depicts Ravi’s unfortunate failure as the girl dies on the operating table. As a result of this Ravi goes into “hiding”.
Ravi’s backstory is unveiled through flashback sequences recounted by various people in his life. During his time in medical college, he was a reckless student with an affluent background. Nonetheless, he managed to complete the course somehow. However, he is faced with a dilemma due to a contract he signed with the college upon enrolling for house surgery: either pay the college Rs 5 lakh or serve at a rural hospital for two years, without which he won’t obtain his certificate.
Following his father’s refusal to provide money, Ravi chooses to work at the Redemption Hospital in Munnar, run by Dr Samuel (Prathap Pothen), an exceptional medical professional who views medicine as more than just a career.
After convincingly portraying the traits and idiosyncrasies of a reckless youth until this moment, Prithviraj, upon arriving at the hospital, swiftly adopts the mannerisms of a perplexed doctor, attempting to comprehend the nature of Dr Samuel.
Through frequent intercuts between different timelines, the movie showcases starkly different personas of Ravi, leaving the viewers pondering about where the character transformation took place. Although the jump cuts in the narrative are apparent, Prithviraj adeptly depicts the character’s emotions at each stage.
While one might expect Ravi to erupt at any moment, considering the history of characters the actor has portrayed up to that point, he never experiences such a moment and instead starts counting down the days to complete the assignment. However, as he progresses, Ravi begins to learn small lessons from Dr Samuel, which eluded him during his time in medical school.
Thus, it gradually becomes evident that the ayal (him) and njan (me) in the title refer to Samuel and Ravi, respectively, and the film begins to centre on their relationship. At one juncture, Dr Samuel asserts, “The length of a person’s life is sometimes within our control because we are doctors,” as Ravi slowly prepares himself to become a doctor. From here, Prithviraj delves deeper into the character’s psyche and adeptly sets aside Ravi’s earlier quirkiness, assuming a more serious demeanour.
As the story progresses, Ravi encounters further challenges, this time in his personal life. Unexpected circumstances prevent him from reaching the marriage registration office on time, causing his girlfriend to be taken back home by her family, who were unaware of their plans to marry. This plunges Ravi into profound grief. Simultaneously, he grapples with allegations of medical negligence for refusing treatment to a young girl due to a tiff with her father, leading to a near-loss of his license. Nonetheless, a lie told by Dr Samuel to the medical board saves Ravi. Prithviraj deftly navigates each of these moments with finesse, skillfully managing a myriad of emotions with precision and perfection.
Among the instances where Ravi is depicted in tears, three stand out: the first during a song expressing his grief over losing his girlfriend, the second when he learns Dr Samuel’s lie to protect him, and the third when he visits the young girl he previously denied treatment, seeking an apology. Prithviraj’s exceptional handling of these distinct emotional displays underscores his profound grasp of the character.
Widely regarded as one of the most impactful on-screen moments in Malayalam cinema, Prithviraj’s act of touching the feet of the young girl, whom he previously denied treatment, conveys both affection and a profound apology, leaving a lasting impression primarily due to his heartfelt performance. This moment effectively highlights the reason why Dr Samuel’s hospital was rightly named ‘Redemption’.
Thus, towards the end, it also becomes apparent why Dr Samuel’s protege Dr Ravi conducted the surgery in the beginning, underlining what the master taught his student.
Although 11 years have passed since the release of Ayalum Njanum Thammil, following which Prithviraj Sukumaran has undertaken various roles both on and off-screen, Dr Ravi Tharakan remains one of his most notable roles to date and this portrayal rightfully earned him his second Kerala State Film Award for Best Actor (in addition to his performance in Kamal’s Celluloid).
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