Movie: Vikramadithyan
Director: Lal Jose
Cast: Dulquer Salmaan, Namitha Pramod, Unni Mukundan, Anoop Menon, Charmila
Rating: ***1/2
Vikramadithyan is power to nostalgia, the better and bitter sides of it. It visualises the significance of upbringing in shaping up a life sketch of an individual. Vikraman and Adityan have contrasting beginnings to their childhood. One of them revels in flaunting those memories with pride and the other tries his best to come out of a shackled start that keeps haunting him intentionally and unknowingly. The aspect that limits the universality of the theme here is the intermittent love triangle. The scale is limited to a small hamlet in Kerala where a middle class family’s biggest dream is to see an individual from his family become a cop. They need something to prove that their ability to be a police officer is ingrained in their blood
The girl is often confused in choosing the man of her dreams. Even though the love life isn’t of primary importance, it’s a conflicting part of Adityan’s existence to remind of the path he’s chosen and his initial mistaken ways. He has both sides of the coin at his helm, the constable who wants to motivate him to greater heights and the advocate who mocks at the system to make him another embodiment of his tainted father. His efforts of a positive transformation often turns unfruitful and when he almost gives up, the change arrives. It lends him solace and hope to achieve bigger goals. The coming of age moment in him is painstakingly slow, both for him and the viewer.
But the aftertaste when the movie ends is something that lets you conveniently forget all the speed breakers in his life and the narrative. Now for Vikraman, like the historical character by the same name is well built, courageous , wise, egoistic and full of pride. His equation with Adityan is rather uncomfortable.
In fact, the film commences with the strained past of their parents. It’s not by any means dramatic but has just about an extra pinch of salt to it to burden their communication. This begins on a comical note but the scenario shift between the present and the past shows the price one has to pay for making a false promise. The tiring longings of the past threatens that quarter of the film prior to the intermission. The longevity of the deep rooted philosophies formed in childhood is director Lal Jose’s basic target.
The girl Deepika, the obvious common link between these men to not make up with each other is easily the weakest character in the film. From her school days till the marriage, the part is always about the choice of her life partner. She links the choice to the profession and makes that an obligation to surrender herself to either of them. Sorry, but you might be reminded of Karan Johar’s Student of the Year, the fight tries to be for the girl and not the wider picture occasionally.
Though the nostalgic fondness is a territory fond to makers like Anjali Menon and Cheran, the tussles among the past, the upbringing and its impact on the present is a tribute to the Awara days of Raj Kapoor and an often downplayed film of his called Parvarish that also starred Mehmood.
Dulquer Salmaan meanwhile is relishing the troubled boy roles coming his way. From an ABCD (American Born Confused Desi) to yesterday’s Bangalore Days to Vikramadithyan, his growth as an actor has been immense. The film’s beautiful sketches are the former’s relationships with his homeo doctor on the street and the constable who don’t discourage him in spite of being aware of his darker shades. The poetic and clapworthy moment is one where Vikraman’s father salutes him on the last day of his job where Nivin Pauly truly arrives as the film’s fresh air. You leave the hall feeling happy for the character. The smile of watching such a fine film that empathises so much for its flawed yet loveable lead character is priceless after all.
Review by Srivathsan N. First published in Cinegoer.net
