Malaikottai Vaaliban movie review: Mohanlal enters the Lijo Jose Pellissery world where the real and unreal blend, but not marvellously

Unlike Mohanlal’s most recent films, where makers often got carried away by either his stardom or his potential as a performer, the multi-genre Malaikottai Vaaliban strikes a fine balance between these aspects, while striving not to compromise on its overall quality. This approach affords Mohanlal ample space to showcase his A-game, as many of the old films that propelled him to his current stature shared similar characteristics.

In Vaaliban, we are not immediately introduced to a Lal delivering punch dialogues at every opportunity. Instead, our first glimpse of the actor is as he snores while resting on a bullock cart. As the stage is set for a wrestling match, Mohanlal emerges, accompanied by a Clint Eastwood-esque background score, adorned in maroon attire that seems stained with the blood of countless battles.

In Lijo Jose Pellissery’s Malaikottai Vaaliban, we are not immediately introduced to a Mohanlal delivering punch dialogues at every opportunity.

Without being tethered to a specific landscape or time period, Malaikottai Vaaliban unfolds alongside the titular character’s journey, traversing various locales as he asserts his strength and garners admiration from all, much like a folk tale. He is constantly accompanied by two persons: Ayyanar (Hareesh Peradi), whom he reveres as a father figure, and Chinna (Manoj Moses), the former’s son, whom Vaaliban treats as his own brother.

“What you have seen is real, and what you haven’t is a lie. What you have seen until now are all lies, and what you are about to see now is the truth,” warns Vaaliban to his rivals every time he prepares for battle. This movie marks Lijo’s second venture into a realm where the real and unreal seamlessly blend, following Nanpakal Nerathu Mayakkam. Vaaliban refuses to adhere to a monotonous tone, including in terms of genre. It often shifts between genres like martial arts, war, drama and fantasy, all interconnected by the central character. Simultaneously, it also artfully weaves together diverse cultures, languages and human emotions against a backdrop of rugged landscapes devoid of lush greenery, reminiscent of the fictional land in Rajiv Anchal’s Guru (1997).

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Every frame and shot composition in Malaikkottai Vaaliban is outstanding, characterised by superb lighting, captivating colouring and elaborate production design. In a pivotal moment, dancer Rangapattinam Rangarani (Sonalee Kulkarni) proposes to Vaaliban while they sit in their respective carts, parked side by side. However, Vaaliban turns her down, leaving Rangarani heartbroken. Against a backdrop of darkness, a mid-shot captures the two carts, each illuminated differently and adorned with colours that reflect their characters, showcasing Lijo’s skill as a master craftsman.

Another remarkable aspect of Vaaliban is its adept use of wide shots, a technique often avoided by contemporary Malayalam filmmakers due to its demanding nature (unfortunate, obviously). In Vaaliban, every wide shot is meticulously crafted and choreographed, seamlessly integrating the production design with the surrounding terrain.

While Lijo is known for his exceptional talent in orchestrating scenes with large crowds, as seen in Angamaly Diaries (2017), Ee Ma Yau (2018) and Jallikkattu (2019), he further extends this skill in Vaaliban by crafting such scenes incorporating many props and creating striking battle and festival sequences.

An ardent lover of cinema with a passion for all genres, Lijo, apart from drawing inspiration from global folk tales, infuses numerous cinematic references into this film too. For instance, the film’s certain background scores are sure to remind one of the tracks used in action sequences in old Tamil and Bollywood movies, adding to Vaaliban’s ambience. The film also imbues Vaaliban with a larger-than-life persona reminiscent of MGR’s iconic roles in old Tamil cinema, with other characters endearingly nicknaming Vaaliban “Ezhai Thozhan (a friend to the poor)” and “Aayirathil Oruvan (one among a thousand)”. At one point, Vaaliban even utters the line “Konjam ange paaru kanna (look that side, dear)” as his soldiers stand atop a fort, aiming guns at their rivals, evoking the spirit of Rajinikanth’s Baashha (1995).

Despite its technical prowess, Malaikottai Vaaliban’s narrative falls short of resonating with audiences, as many scenes lack impact and fail to leave a lasting impression. One of the compelling aspects of Lijo’s films is the depth of characterisation. Even the most minor characters in his films are never superficial. Amen, written by PS Rafeeque who also penned Vaaliban, serves as an example of this. From Therutha, Chachappan, Paily and Davis to Vishakol Pappy and Kappiyar Kochouseppu, all the characters were well-developed and easily connected with audiences. However, in Malaikottai Vaaliban, this depth is lacking in nearly all characters, including the central one, making them feel underdeveloped or poorly communicated by the makers. The exception is Chamathakan (Danish Sait), the deceitful antagonist reminiscent of the Joker in Batman comics. While Rangapattinam Rangarani could have been a more nuanced character, given her love for Vaaliban which eventually turns to envy, this aspect is overshadowed by the overt focus on the visual aspects.

Although the movie incorporates the seven deadly sins into the characters, with each person exhibiting one or more vices at various points, the narrative fails to fully explore the characters’ emotions, resulting in ineffective communication. The theatrical elements introduced by Lijo and Rafeeque also often fall flat, failing to provide a more surreal and immersive experience. Albeit Vaaliban’s script avoids unnecessary buildup and carefully approaches each instance in line with its measured tempo, this approach proves counterproductive at times, resulting in moments that fail to resonate with the audience.

While Vikram Mor’s action choreography is commendable, it falls short of being exceptional. The sequences owe much of their impact to the outstanding cinematography and editing; otherwise, they might have appeared lacklustre. Certain fight scenes, particularly those demanding intense physicality, felt out of sync with the overall film, hinting at the heavy use of ratchet pulleys (not that using them is wrong in any way, but to ensure that the audiences feel the same is where the brilliance of the makers lie).

On the performance front, Mohanlal impresses with his deep dive into Vaaliban’s character, adeptly conveying emotions without veering into exaggeration. With his remarkable flexibility, he ensures that no one can imagine a better Vaaliban than him. From fierce moments to emotional ones, Mohanlal delivers spot-on, though it may not rank among his career best. Hareesh Peradi and Manoj Moses also deliver standout performances. Sonalee Kulkarni shines in her movements and emotional scenes, despite the limitations of her character’s development. Katha Nandi also handles her role proficiently. Conversely, Danish Sait captivates as the cunning antagonist.

On the performance front, Mohanlal impresses with his deep dive into Vaaliban’s character, adeptly conveying emotions without veering into exaggeration.

Madhu Neelakandan’s cinematography elevates the film, compensating for its narrative shortcomings, and Deepu Joseph’s editing complements this effort. Prashant Pillai’s music sets the perfect tone for Vaaliban, occasionally evoking the atmosphere of spaghetti Western films. Gokul Das’ art direction effectively realises the fantastical setting, while Ronex Xavier’s makeup and the costume department’s work stand out for their quality.

Malaikottai Vaaliban movie cast: Mohanlal, Sonalee Kulkarni, Hareesh Peradi, Danish Sait, Manoj Moses, Katha Nandi
Malaikottai Vaaliban movie director: Lijo Jose Pellissery
Malaikottai Vaaliban movie rating: 3 stars