Mandakini movie review: Women outshine men in Althaf Salim, Anarkali Marikar’s comedy-drama

Following her wedding with Aromal, Ambili moves into his house, as is “customary” in our country. In the initial scenes itself, screenwriter-director Vinod makes it clear that Aromal is infatuated with Ambili. Although she doesn’t show the same level of fixation, her gestures reveal that she has developed an affection for him. However, as the movie progresses, it becomes clear that they must overcome significant obstacles to enjoy a peaceful aadhyaraathi or suhag raat (nuptial night), as many of Aromal’s relatives are at his house, each more prying, nosy or careless than the other.

Amidst the chaos of dealing with these relatives, paying off event managers and photo sessions, Aromal grows increasingly anxious and his brother-in-law Unni (Vineeth Thattil) suggests alcohol as the ideal remedy. To prepare a sober Aromal for the nuptial night, Unni instructs a relative to prepare a drink of Mandakini, a Malabari Vaatte produced and sold only in Canada brought by a friend from abroad, for him. However, the person in charge makes a very strong cocktail, which, instead of Aromal, is unknowingly drunk by Ambili, making her instantly tipsy. In an inebriated condition, she creates a scene at the matrimonial home, insisting on meeting her “boyfriend” Sujith Vasu (Ganapathi S Poduval) immediately. As Aromal becomes increasingly nervous about handling the situation, his family’s involvement only makes things go haywire. The rest of the movie follows what unfolds.

Watch Mandakini trailer here:

Though Mandakini’s plot and story, penned by Shiju M Bhaskar and Shalu, had the potential to be a fun ride, Vinod’s script fails to take off properly and instead hovers on the runway as if waiting for clearance, in contrast to the numerous flights heard in the background throughout the movie, as Aromal’s house is located next to Cochin airport. Unlike Guruvayoor Ambalanadayil or Upacharapoorvam Gunda Jayan (2022), which are set in similar environments, Vinod relies on dialogues rather than comedic instances. However, many of the “jokes” and one-liners fall flat on their faces, failing to evoke much laughter. Although these might have seemed funny on paper, their impact is diminished by the lack of a supportive atmosphere. Despite introducing several interesting characters, such as an aunt who collects gossip and gives advice, and Sagar (Jeo Baby), the friend who brought Mandakini from Canada and is eager to get drunk, Vinod fails to fully utilise these characters and they disappear quickly. As the story progresses, these one-liners alone are heard too frequently and after a point, the narrative’s inability to keep the viewers hooked reaches an irredeemable point despite these “jokes”.

When conflicts arise in the narrative, Mandakini seems unsure whether to focus on comedy or serious moments and occasionally, a serious remark will interrupt a humorous scene or vice versa, disrupting the flow. Although these conflicts could have been handled humorously to match the movie’s tone, the lack of impact in writing weakens these moments, making them merely average.

However, one positive aspect of Mandakini’s screenplay is its balanced portrayal of male and female characters and their camaraderie, giving equal importance and screen time to both groups. Unlike mainstream films that often depict female bonds as centred around gossip, Mandakini avoids these clichés. Instead, Mandakini examines the bizarreness of some male friendships found in real life, which revolve around alcohol and often lead to big troubles. The women, in contrast, are more responsible and driven, yet they know how to have fun when they wish; a perfect example is Aromal’s mother Rajalakshmi (Saritha Kukku), the matriarch who makes ends meet by running a driving school. Unlike the men, who find happiness only in drinking, the women share a drink when they are happy or want to relax, underscoring their responsible behaviour. Even when things get out of control, the women, despite being drunk, are the first to act, while the men look for ways to get more drunk. At the same time, in contrast to many recent mainstream Malayalam movies that reduced their central female characters to side roles, Mandakini gives the women centre stage and a satisfying payoff, which could have been even more effective if the script had built up to it more efficiently.

While Althaf is convincing as Aromal, the film’s overreliance on his ability to deliver one-liners, a skill he has demonstrated multiple times in the past, backfires here, mainly because his character is not properly drawn out. Though his quirky charm and gullible behaviour manage to bring a smile to viewers’ faces, his performance is likely to remind one of many of his earlier characters such as Shobhi in Premalu, Ambadi in Madhura Manohara Moham and Sujith in Pachuvum Athbutha Vilakkum. Anarkali Marikar, meanwhile, adds a refreshing presence to the scenes and handles the tipsy moments well, but Ambili’s character suffers from weak writing. Even when her relationship with Sujith Vasu and her reasons for agreeing to an arranged marriage become clearer, Mandakini fails to evoke much emotion from the audience for her. The duo’s on-screen chemistry is, nonetheless, charming and cute. On the other hand, Saritha Kukku is exceptional as Rajalakshmi and Vineeth Thattil and Ganapathi too perform well, along with many other supporting actors. On the technical front, only composer Bibin Ashok’s work stands out, while the other aspects are painfully average or below.

Mandakini movie cast: Althaf Salim, Anarkali Marikar, Saritha Kukku, Ganapathi S Poduval, Vineeth Thattil, Jeo Baby
Mandakini movie director: Vinod Leela
Mandakini movie rating: 2 stars