AJAYANTE RANDAM MOSHANAM MOVIE REVIEW
Cast: Tovino Thomas, Krithi Shetty, Aishwarya Rajesh, Basil Joseph, Surabhi Lakshmi
Director: Jithin Laal
Ajayante Randam Moshanam (ARM) is a sprawling, ambitious epic that attempts to mesh together three timelines, multiple genres, and a commentary on caste discrimination in a Kerala village. Director Jithin Laal’s debut feature showcases both the promise and pitfalls of such a grand undertaking.
The film’s narrative spans three generations in the village of Haripuram, centering on a mystical lamp called the Chiyyothi Vilakku. In the early 1900s, we meet Kunjikelu, a skilled warrior who attempts to make the lamp accessible to all castes. Decades later, his descendant Maniyan, a nimble thief, steals the lamp to right societal wrongs. In the present day, Maniyan’s grandson Ajayan grapples with his family’s legacy and ongoing caste discrimination while being drawn into a conflict over the lamp’s true power and ownership.
At the center of this triptych is Tovino Thomas, tasked with portraying these three distinct characters. Thomas rises to the challenge admirably, infusing each role with unique mannerisms and energy. His Maniyan is particularly fascinating, striking a balance between roguish charm and righteous anger.
The film’s visuals are rich and varied, with cinematographer Jomon T. John crafting distinct looks for each timeline. From the earthy tones of Kunjikelu’s era to the neon-tinged nights of Ajayan’s present-day struggles, the film is a feast for the eyes, though an overreliance on slow-motion sometimes dulls the impact of key moments.
Jithin Laal and screenwriter Sujith Nambiar effectively tackle the thorny issue of caste discrimination, centering it as a through-line across generations. The Chiyyothi Vilakku serves as both MacGuffin and metaphor for systemic oppression. Yet, the film occasionally pulls its punches, seemingly hesitant to fully explore this issue, perhaps for the good as audiences are probably tired of the topic after innumerable films on it over the decades.
Where ARM falters is in its pacing and narrative cohesion. The frequent jumps between timelines can be disorienting, and the central plot feels underdeveloped at times. Characters outside of Thomas’s trio lack depth and motivation.
The film’s blend of fantasy, action, and social commentary is ambitious, but not always successful. While individual set pieces impress, the overall narrative struggles to maintain momentum, particularly in its latter half.
Despite its flaws, Ajayante Randam Moshanam remains a noteworthy entry in Malayalam cinema. It showcases Tovino Thomas’s range and marks Jithin Laal as a director to watch. While it may not fully realize its lofty ambitions, the film’s willingness to tackle weighty themes within a commercial framework is commendable. Like the Chiyyothi Vilakku itself, ARM shines brightly at moments, even if its full power remains just out of reach.