Parole Malayalam Movie

Feature Film | 2018 | U | Drama
'Parole' is an emotional family drama with overdose of cliched elements. The clumsy treatment of a real incident fails to kindle any empathy and lack of intensity takes off the sheen of sacrifice.
Apr 7, 2018 By K. R. Rejeesh

Where To Watch:
   Manorama MAX
DVD Release: May 22 2018

A real life story gets its dramatized version in "Parole," evoking a passive feeling in the viewers. The protagonist is an epitome of sacrifice with abundance of affection towards his family. Debutant director Sharrath Sandith is keen to place the hero on the terrains of morality and at the same time, he wants to retain the heroic deeds intact. He tries to bring the tolerance of the character to the limelight sans any intensity and vitality in the treatment.

There is room for intriguing moments but it's snuffed out by unconvincing and cluttered sequences. Sharrath relies heavily on banal narration towards the end and as a viewer, you are not really satisfied with the answers. When the energy starts to diminish, the film turns out to become a usual hammy drama about relationships.

Scripted by Ajith Poojappura, 'Parole' has Mammootty appears as Alex, a prisoner. We get substantial innuendoes about the nature of the character from the jail scenes. He is liked by everyone in the central prison, including the police officials. The flashback throws light on his life with his wife Annie (Iniya) and son. He deeply loves his sister Kathreena (Mia George), who is married to Varghese, essayed by Suraj Venjarammoodu. Alex is a communist in his hillside village and so you witness the usual fripperies associated with it. His life changes with the introduction of the character Varghese.

The grace and effortless presentation of Mammootty lends credibility to the mental conflict and dilemma of Alex, who was imprisoned in a murder case. The actor seems to be devoid of the support of a tout screenplay to effuse more powerfully the essence his role. Due to the peripheral emotion the film generates, the sensitiveness of Alex's sacrifice and pangs go awry.

Iniya is at her best as she effectively portrays the typical homemaker of an ideal communist. Though Miya's character provides little clarity, she could give a convincing performance. Amidst the tepid events, it's Loganathan's beautiful visuals that keep alive our interest in the plot.

The overdose of cliched elements exposes the film's predictability. The clumsy treatment of a real incident fails to kindle any empathy and lack of intensity takes off the sheen of sacrifice.

K. R. Rejeesh