Anchakkallakokkan movie review: Chemban brothers, Lukman’s film neatly fuses folk art and pulp fiction, albeit with flaws

Initially perceiving Kalahasti as a tranquil bordering village, Vasudevan soon realises his assumption couldn’t be further from the truth upon witnessing the brutal and corrupt nature of his fellow officers and the chaos surrounding Chaapra’s murder, exacerbated by the arrival of his sons. Meanwhile, the local blacksmith, Shankaran (Manikandan R Achari), surrenders to the police, claiming responsibility for Chaapra’s death. However, Vasudevan soon discovers Shankaran isn’t the actual culprit; rather, his confession is part of a revenge plan against someone who had caused him significant personal loss. Consequently, the police, Shankaran and Chaapra’s sons become embroiled in a three-way war, with Vasudevan caught in the middle, uncertain of what to do.

Though the film’s plot is very simple, straightforward and somewhat stale, writer-director Ullas Chemban’s approach has brought a refreshing twist. By infusing the folk theatre art form of Porattunadakam (aka Porattukali) into the narrative and introducing the myth of Anchakkallakokkan (a fictional demonic figure with various names across Kerala, used by elders to scare children into behaving), the film adds depth to its plot, preventing it from feeling like a tired cliché. This is not old wine in an old bottle. Simultaneously, the visual aesthetic created by Ullas and cinematographer Armo, reminiscent of pulp fiction stories, contributes to an invigorating and unique viewing experience, setting it apart from usual actioners.

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As Porattunadakams are performed by those belonging to the lowered Panar caste, the incorporation of this specific art form and the portrayal of Vasudevan as hailing from a family of Porattunadakam performers adds layers to the film’s narrative rooted in identity politics. At the same time, as the folk art form serves as an amalgamation of dance, music and satire, Anchakkallakokkan adeptly utilises Porattunadakam’s such features while also providing them with a pulp fiction twist, with the occasional use of background tracks reminiscent of Spaghetti Western films, resulting in a fresh and engaging experience.

In a fight scene at a local toddy shop, Chaapra’s sons, one with a lisp and the other mute, are depicted thrashing their rivals while the latter dances to a track on the radio, enhancing the mood without inducing cringe. As the film progresses, they are consistently portrayed as characters akin to those from a spoof movie, yet undeniably dangerous, as they blast a local politician and the Kalahasti police station sans any remorse at one point. With swagger and a dark sense of humour, they enter and exit scenes with flair, adding to Anchakkallakokkan’s allure. Shankaran too is given a similar swagger, albeit lacking humour, as he seeks revenge, and Manikandan shines in the action sequences, particularly in his fight with Kolliyan (Senthil Krishna), an outlaw who has taken refuge in the forests.

Ullas ensures that despite the bustling rural setting, the film does not overwhelm viewers with too many characters. While the setting remains lively, the focus remains on a select few integral to the story. With a narrative style reminiscent of Quentin Tarantino’s Pulp Fiction (1994), albeit without using a nonlinear technique, Anchakkallakokkan provides visually captivating moments throughout.

However, the film fails to ensure that the characters build a connection with viewers, due to weak characterisation. Although Vasudevan’s presence is consistent and his character arc appears promising, the movie is unable to explore his psyche deeply enough, though his dream sequences are well choreographed and shot, for audiences to fully invest in him. Even Nadavaramban’s character, though crucial to the narrative, lacks depth. The mediocre performances by both Lukman and Chemban Vinod exacerbate this issue.

While Manikandan shines in his role, Megha Thomas, with limited screen time as Pathmini, also delivers a good performance, adding depth to her character’s involvement in Chaapra’s death. The actors portraying Chaapra’s sons also deliver solid performances, saving the film from becoming tiresome.

Despite Armo’s cinematography and Rohit VS Variyath’s editing, along with the contributions of Manikandan Ayyappa’s music and Ranjith Kotheri’s art direction, which somewhat elevate the film despite its narrative flaws, the colour grading in Anchakkallakokkan is often jarring. Particularly in long shots, the excessive colour grading leads to noticeably poor quality frames.

Anchakkallakokkan movie cast: Lukman Avaran, Chemban Vinod Jose, Manikandan R Achari, Megha Thomas
Anchakkallakokkan movie director: Ullas Chemban
Anchakkallakokkan movie rating: 2.5 stars