Fahadh Faasil at 42: How an actor I once deemed hopeless won me over with a trio of 2013 films

When Rasool moves around, whether through the city or the small space where he and his older brother live, it feels as if Fahadh’s known these places since childhood and they know him. When he spots his friend Collin (Soubin Shahir) on the road riding a bike, while he drives his taxi, Rasool’s face lights up, even though they see each other every day. Fahadh’s expression here is adorably childlike as if he has achieved a rare feat. Rasool finds happiness in the simple pleasures of life — a well-lit church is enough to bring a smile to his face. Unlike Collin and Abu (Shine Tom Chacko), he isn’t brave or astute and is easily scared when trouble arises and prefers to live a peaceful, under-the-radar life. So, if you tell him to “run for your life,” he will, no questions asked.

The distinction in the way Rasool looks at Anna (Andrea Jeremiah), a Latin Christian salesgirl, during their first and second encounters highlighted Fahadh’s talent and growth as an actor since his subpar debut in Kai Ethum Dhoorathu (2002). In both instances, Rasool is running for his life after getting into trouble due to Collin and Abu’s actions. The first time he meets her, she’s crossing a road and accidentally steps in front of their speeding car. Though his quick reflexes prevent an accident, Rasool gives her a cold look from behind the wheel — so unlike him — probably because he thought he was about to land in prison, if not for being an accomplice in a car theft, then for a road mishap. But the second time he sees her, the candlelight reflecting off her face illuminates his bewitching eyes, which sparkle with affection. A few scenes earlier, his friend Ashley (Sunny Wayne), a merchant navy officer, had told Rasool that Vypin has the prettiest women in the world. Seeing Anna, hailing from Vypin, he too now shares the same opinion.

Rasool’s behaviour towards Anna from that moment onward is textbook stalking. Although he never approaches her, he stares at her constantly, as if scanning her soul. She soon begins to notice him, but he doesn’t care; he simply continues to stare. Despite the love in his eyes, it is undeniably creepy. The creepiness peaks when Rasool sees Anna drying clothes in her backyard as he is leaving Ashley’s house and their eyes lock for a few seconds, in silence, without any background score. Fahadh’s ability to convey the essence and mood of a moment without any sound underscored how powerful a performer he was.

Even though he looks tense until the moment he professes his love, when the words start to flow, Fahadh gives Rasool a touch of confidence, highlighting his love for her. The way Rasool embraces the fever that overtakes him after his confession, the surprise he feels when receiving an SMS from Anna for the first time, the way he absorbs the silence between them during their first call, the pain he endures when she says their relationship won’t work due to religious differences, the sensation of her silky hair brushing his hands as the wind blows on it while they’re on the bus, the determination he shows when taking her to start a new life despite opposition from all quarters, the way he captures her lips in a searing and hungry kiss and his collapse upon seeing Anna’s body in the end — Fahadh adds an extra layer of authenticity and subtle nuances to Rasool’s reactions in each of these moments. It was these minute details that revealed Fahadh’s genius and his ability to touch the soul of the character. Leaving the theatre, I was lost in Annayum Rasoolum’s world and the man with eyes like stars in the night sky.

Actors Fahadh Faasil and Andrea Jeremiah in director Rajeev Ravi’s debut directorial venture Annayum Rasoolum. (Image: Fahadh/Facebook)

In March 2013, Fahadh Faasil arrived with an unconventional film: director VK Prakash’s Natholi Oru Cheriya Meenalla (Anchovy Isn’t a Small Fish). Here, he played two characters, starkly opposite to each other and to Rasool too. While Preman, nicknamed Natholi (anchovy) by others, is a powerless caretaker in a luxury apartment complex in Kochi, Narendran is a wealthy, educated character that Preman creates in the script he’s writing. Unlike Preman, Narendran is affluent, sophisticated and skilled with women. Preman uses this fictional character to exact revenge on those who bully him in real life, particularly Prabha (Kamalinee Mukherjee), in a form of literary retaliation. As Preman’s perception of reality and fiction blurs in due course, he begins to internalise aspects of Narendran’s character. From visuals evoking a sensation of magical realism to fourth-wall breakings, Natholi Oru Cheriya Meenalla was an unusual choice for a young actor trying to make a name for himself in an industry that had previously dismissed him.

Despite the film’s flaws, Fahadh’s performances as both Preman and Narendran were so convincing that they captivated me immediately. His skillful portrayal of both characters, each with distinct traits, quirks and backdrops, highlighted his prowess. The film also offered early insights into his comedic talent and his ability to handle complex, grey roles. The distinction between Preman’s and Narendran’s socio-economic backgrounds but the actor’s precise portrayals further demonstrated Fahadh’s versatility in delivering compelling and authentic performances across different personas.

Watch Fahadh Faasil’s Red Wine trailer here:

Less than two weeks later, Fahadh returned to the screen with a film that deepened my admiration for him. Despite boasting a star-studded cast including Mohanlal, Fahadh and Asif Ali, director Salam Bappu’s mystery thriller Red Wine did not make waves, mainly due to the script that fell short of being tightly plotted or engaging for a thriller. However, if viewed as a slow-burner, Red Wine is a compelling investigative drama, wherein Fahadh once again stepped out of his comfort zone of urban, elite roles seen in films like Chaappa Kurishu, 22FK, Diamond Necklace and (Narendran in) Natholi.

In the role of Anoop, a part-time theatre actor and local committee secretary of a Leftist party, Fahadh delivered a ravishing performance. As the go-to person in a village near the forests of Wayanad district, his portrayal was strikingly authentic, mirroring the demeanour of many such persons we must have encountered in real life. Fahadh’s performance as Anoop also demonstrated his ability to fully immerse himself in his characters, presenting them as they are rather than imposing his own traits on them. Unlike the innocence and love seen in Rasool’s eyes, the resentment in Preman’s and the cunningness in Narendran’s, Anoop’s eyes conveyed a blend of camaraderie, compassion and the strength to lead like a true leader, underscoring that those orbs had powers beyond what had been displayed so far.

Red Wine was soon followed by Amen, 5 Sundarikal, Artist, North 24 Kaatham and Oru Indian Pranayakadha — all released in the same year, 2013. And now, Fahadh is regarded as one of the country’s top and finest actors. For me, however, Annayum Rasoolum, Natholi Oru Cheriya Meenalla and Red Wine will stand out in his repertoire for transforming me from someone who once thought the young actor in Kai Ethum Dhoorathu was hopeless and had no future into an ardent fan.