A Satirical Premise Let Down by Sloppy Execution
Apoorva Puthranmar, directed by Rejith RL and Sreejith, aspires to deliver a thought-provoking satire that critiques religious superstitions and questions the process of canonization. While the premise is promising, the film falls short of transforming its bold theme into a compelling narrative. Scripted by Siva Anchal, Rejith RL, and Sajith, the film centers around two aimless protagonists who, despite their carefree existence, stumble upon a lucrative opportunity by manipulating the beliefs of devout villagers-a concept that could have been explored with greater depth and nuance.
The film follows brothers Jinto and Jijo, played by Vishnu Unnikrishnan and Bibin George, whose juvenile antics and absurd behavior initially amuse but soon grow monotonous. They earn their living ferrying passengers in a jeep while their father Sebanos (Lalu Alex) remains their only unwavering supporter, enduring the scorn of the villagers. Although Vishnu and Bibin show flashes of comic timing, their performances quickly lose charm due to a lackluster script that gives them little room for growth.
The turning point arrives with the death of Sebanos, which jolts the brothers into remembering a promise made to their father. Their attempts to fulfill this final wish form the crux of the story, intended as a biting commentary on the absurdity of blind faith. However, the manner in which this plot point unfolds stretches believability. The brothers' delayed reaction and clumsy efforts feel more silly than sincere, undermining the film's intended message.
Supporting characters like Asokan as the parish priest and Dharmajan Bolgatty as the sexton Gonsalvas provide brief moments of comic relief, while Balaji Sharma (as the mute Solomon) and Alencier (as the abandoned Unnikrishnan) deliver respectable performances despite limited screen time. Lalu Alex, as the affectionate and weary father, lends dignity to the role with a heartfelt performance.
Unfortunately, the screenplay lacks coherence, and its attempt at satire is weakened by implausible scenarios-such as the forced physical confrontations with antagonist Johny (Nishanth Sagar), which feel contrived and tonally off. The romantic subplots featuring Ammayra Goswami and Payal Radhakrishna are forgettable, serving only as ornamental additions rather than integral characters.
While the film aims to lampoon superstition and evoke laughter, its humor rarely lands, and the narrative quickly loses steam after the protagonists begin exploiting the devout. Despite glimpses of a sharper satire, Apoorva Puthranmar is ultimately a shallow effort marred by a sluggish screenplay, ineffective humor, and inconsistent tone. The film's message, though relevant, is lost in a muddle of missed opportunities.
