Adayalangal Malayalam Movie

Adayalangal is a biopic, that's excessively literal and strangely detached. It dwells on a subject that's quite complex, but never gets beyond scratching the surface. Sep 9, 2008 By Veeyen

Adayalangal is a biopic, that's excessively literal and strangely detached. It dwells on a subject that's quite complex, but never gets beyond scratching the surface.

Adayalangal begins with a soliloquy of the writer; set against a few solid frames that explicitly hint at the events to follow. It then goes on to chronicle a phase in Nanadanar's life that led to whom he eventually became. A youthful Nanadanar, Padathuparampil Gopinathan (Padmasurya), battles quite a few demons in his life before he decides to enlist in the army and fight a war that holds no purpose for him.

It's ironical that the film ends where Nandanar's life begins. Rather, it's a circle when you think of it; the film oscillates between different chapters of his life, moving readily across loosely held strings of time.

There are three primary elements that the film remains obsessed with - hunger, lust and death. There are extensive attempts to ascertain the three, but in primordial ways that at times feel a bit sloppy.

It's interesting, that a few of these elements remain intertwined. Which is why, Gopi easily equates his desire for Meenakshi in terms of fine delicacies that he can think of; she reminds him of the smell of a freshly broken coconut or the delicate fragrance of the hot 'payasam' served on the Sadya.

The film dwells on a lot, and it's sad that often there's a lack of focus that pretty much ruins things. Nandanar and his frantic attempts to get over the debasing restraints set up by the society are never persuasively portrayed. There's plenty of deliberation on the futility of war, and all that. It doesn't help much though, that the battle field sequences appear painfully amateur.

The symbolism in the film suffers throughout. There are a few image chestnuts that must have been left locked up in the box from which they have been unearthed. There is the almost proverbial rose being crushed under the boots, and the broken bangles and finger clasps, all left in tact.

Performances are almost even, though Jyothirmayi exudes a raw sensuality as Meenakshi, and stands a tad taller than the rest. There's a unique serpentine charm to the actor, that's seductively stealthy.

Adyalangal has a convincing theme for sure. But there are very few occasions when Nandanar actually comes alive in this film.