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Jana Gana Mana good political crime thriller inspired from real-life incidents can feast on , that teaches you to think, question, challenge and more as a common man who consumes news at its face value.

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'Jana Gana Mana' review: Prithviraj-starrer is an epic, high-impact political thriller

One of the most remarkable qualities about Dijo Jose Antony's Jana Gana Mana is how it maintains a sense of urgency throughout its entire duration (close to three hours). It behaves like an extended third act of a suspense thriller. When it opens, a grave event has already occurred. Emotions are already running high. It dangles what passes as truth in front of you, and for a while, you buy it. But whose version of the truth are you being sold? Is it that of the media, cops, or lawyers?

It's only when a barrister, Aravind Swaminathan (Prithviraj Sukumaran), shows up in court and starts busting one 'truth' after another that your perceptions begin to alter gradually. Jana Gana Mana is like a Rubik's cube whose 'true' combination changes every few minutes. It follows a Rashomon-style way of seeking the truth without emulating the Akira Kurosawa classic's screenplay structure.

The other impressive quality about Jana Gana Mana is how it feels like three or four movies rolled into one. As each layer comes undone, one imagines all kinds of tangents the film can go in. I can't recall the last time a Malayalam film did that to me. (If you're wondering why I haven't mentioned anything about the story yet, then I have to tell you that I'm trying to find a way to write this review without giving away any major plot points.)

Jana Gana Mana brings together Prithviraj and Suraj Venjaramoodu again after the immensely successful Driving Licence (currently being remade in Hindi as Selfiee). Naturally, you expect great things from any film involving them after that. And Jana Gana Mana doesn't disappoint. I don't know if it would be fair to say whether one film is better than the other. Both actors deliver what is expected of them. Their characters in Jana Gana Mana are miles apart from those in Driving Licence.

Do I need to mention Suraj's impressive range at this point? The first hour is devoted entirely to Suraj's police character, Sajjan Kumar, who is assigned to contain a violent JNU-type situation at a large university in Karnataka. I'm not going into all the spoilerish details because this movie is packed with plenty of information. I would rather the viewer approach this film the same way I did - with as little information as possible.

It uses various picked-from-the-headlines incidents from recent memory as inspirations to make piercing statements about many ills currently plaguing the country. And among the contemporary superstars, I can't think of anyone better than Prithviraj to deliver piercing dialogues that reverberate across the courtroom walls and everyone sitting in the movie hall.

And Shammi Thilakan seems to have had much fun being the rival litigator. He is, I must add, the primary source of humour in the film - and I don't mean the unintentional kind. Yes, certain areas in Jana Gana Mana get slightly theatrical and loud, but why should one expect the vibe of a Dileesh Pothan or Rajeev Ravi film from it?

Jana Gana Mana is a big-scale, mass-appeal entertainer in the vein of the political thrillers that Renji Panicker wrote for Shaji Kailas in the early 90s or what Dennis Joseph wrote for Joshiy or Thampi Kannanthanam in the 80s. Parts of Jana Gana Mana evoked the spirit of films like Thalasthanam (1992), Bhoomiyile Rajakkanmar (1987), New Delhi (1987), and Pathram (1999).

But where Jana Gana Mana stands out is how, in terms of the statements it makes, it dares to be bolder than the above films. As much as I hold the writers and filmmakers of that era in high regard, I don't think they would have addressed issues like marginalisation and sensationalism to the degree that it is done here. I'm glad that we are no longer living in the 80s and 90s.

By the end of Jana Gana Mana, we get a sense of the personalities of Aravind and Sajjan. But it's not over. The film opens up the possibilities of exploring more sides to them that we haven't seen before.

We are told, through Aravind, that the story has only begun. (The makers had already announced the sequel plan.) This approach is refreshing because, unlike the other epic two-parters like Baahubali, KGF, or Pushpa, Jana Gana Mana dares to be epic in terms of topicality.

It is indeed an epic, but in terms of storytelling ambitions, not the visuals. The first film opened many cans of worms, and I hope its successor opens many more too. And as a fan of Prithviraj and Suraj, I can't wait to see what surprises they would spring in that one.

Director: Dijo Jose Antony

Cast: Prithviraj Sukumaran, Suraj Venjaramoodu, Mamta Mohandas, Vincy Aloshious, Shari

Rating: 4/5

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Jana Gana Mana

As a college professor's brutal murder sparks student unrest, a cop launches an investigation while a lawyer seeks justice in the the courtroom. As a college professor's brutal murder sparks student unrest, a cop launches an investigation while a lawyer seeks justice in the the courtroom. As a college professor's brutal murder sparks student unrest, a cop launches an investigation while a lawyer seeks justice in the the courtroom.

• Dijo Jose Antony
• Sharis Mohammed
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• Trivia A virtuos movie with blatant propaganda. First half has story building and in second part only one community is shown as villain.
• Goofs When Prithvi Raj is questioning the editor of the newspaper, on the back of the news paper, COVID-19 related incidents are present. Since the movie is taking place in June 2019 COVID would not have existed.

Aravind Swaminathan : Instant tea, instant coffee, instant justice!

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• kathiravanvj
• May 1, 2022
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• April 28, 2022 (India)
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JANA GANA MANA MOVIE REVIEW CLICK TO RATE THE MOVIE

With the uproar "Inquilab Zindabad (Long live the revolution)," Jana Gana Mana, vigilante action thriller, reached theatres today. Starring Prithviraj Sukumaran, Suraj Venjaramoodu in lead roles and with Mamta Mohandas, Vincy Aloshious in important supporting roles, the film is directed by Dijo Jose Antony.

The film is written by Sharis Mohammed, edited by Sreejith Sarang, and cinematographed by Elamon. It is the first of two cinematic parts, with the end of this film setting up the events of the next installment.

Jana Gana Mana focuses on ACP Sajjan (played by Suraj Venjaramoodu), who is asked to investigate the rape and subsequent murder of a professor, Saba (Mamta Mohandas). The movie opens with Saba's burning body being discovered and the resulting student protests at Central University, Bangalore. Sajjan leads a team to investigate the case in the aftermath. The events during and after the investigation forms the crux of the story.

First off, one must appreciate Sharis Mohammed for the gripping nature of the screenplay. It is everything a thriller can be: edgy, interesting, and whistle-inducing dialogues. Mohammed has successfully weaved a compelling story using fictionalised versions of real-life events that make one give a serious thought about the world we live in.

The lack of unnecessary songs disrupting the flow of the story adds to the effect of the film. Speaking of music, Jake's Bejoy's score gives the support the screenplay needs to leave the audience at the edge of their seats. However, the same score evokes sympathy, rage and the feeling of hopelessness when the scene demands it.

Along with a tight screenplay, what carried Jana Gana Mana throughout its 2 hours and 43 minute–runtime were the actors. Suraj Venjaramoodu as a smart, determined, and helpless ACP and Prithviraj Sukumaran as a jaded, just, and limping lawyer were a marvel. Supporting cast members like Mamta, Vincy, Shari, and Ilavarasu were equally, if not more, effective with their performances.

Jana Gana Mana raises important questions about law, justice, politics, and bias but above all, the impact of sensationalized media in our country. It covers a lot of different issues and constantly keeps the audience hooked. Moreover, with some unexpected twists and extended sequences, the movie sets up for the sequel. But this is where the problem arises.

In its attempt to leave people guessing, the timeline of events becomes convoluted. Adding the confusion are all the flashbacks towards the end of the film, which takes little away from the impact the film had until then. The courtroom scene, as riveting as it was, felt drawn-out and unrealistic with back-to-back monologues but that's to be expected in a thriller like this one. And in all honesty, the monologues did have the desired impact, and ultimately Jana Gana Mana drove home all its points, so it's a win.

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

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Home » Review » Jana Gana Mana movie review: Prithviraj’s socio-political drama poses relevant, thought-provoking questions »

Jana Gana Mana movie review: Prithviraj’s socio-political drama poses relevant, thought-provoking questions

When you consider that Jana Gana Mana also aims at showing how the storytelling elements play out in forming the perception of a larger social conscience, the way its director Dijo Jose Antony and scriptwriter Sharis Muhammed have narrated the tale is masterly 

• Sanjith Sidhardhan

Last Updated: 08.26 AM, Jun 01, 2022

Story: After a college lecturer’s body is found burnt, it becomes national news when students seeking justice for her murder are confronted by police brutality on their campus. This forces the government to handover the investigation to ACP Sajjan Kumar, who promises the lecturer’s mother that he would apprehend the culprits and see that justice is served within a month. The measures he takes, however, has him battling a legal case with the Human Rights Commission.

Review: Right at the interval of Dijo Jose Antony’s socio-political film Jana Gana Mana, one of its protagonists stares at a quote from Mahatma Gandhi: “In matters of conscience, the law of majority has no place.” It’s almost antithetical that the quotation finds a place in a court of law, but that’s what Dijo and the film’s scriptwriter Sharis Muhammed do in Jana Gana Mana – challenge personal and social bias and put forth questions to the audience to get them to take note of various factors – manipulated or genuine – that shape up their perception.

The movie’s core story is about a mother seeking justice for the death of her daughter Saba Mariam (Mamta Mohandas). However, various trials - by the media, cops and then later in a courtroom – reveal different versions of the truth about what actually transpired the night that the college lecturer was killed.

Dijo, who is only directing his second film after Queen, uses a clever approach to narrate the tale, which despite being socially relevant and filled with hard-hitting truths is ultimately packaged as an entertainer. The filmmaker has mainly divided the film into two chapters – one that follows its lead investigating officer Sajjan Kumar, who has been appointed to probe the case after it captures the attention of the nation and the second, while he is on trial. Prithviraj Sukumaran’s Aravind Swaminathan features in the latter half as a lawyer, who also has a past – glimpses of which appear sporadically in the beginning and is then quickly shown in the third act, more as a prologue to a sequel.

Jana Gana Mana is one of those rare big films where all departments fire in equal measure. While Sharis’ script and dialogues are the strength of the film, Jakes Bejoy’s music elevates the movie, by ensuring that all the characters and their plight emotionally connect with the audience. In fact, Dijo has used the music to influence the emotions of the viewers so well. When you consider that the film also aims at showing how these elements play out in forming the perception of a larger social conscience on ‘instant justice,’ it’s almost a masterstroke – where the director uses the very same tactic to prod the viewers to question the factors that manipulate their emotions.

The movie, while set in Karnataka, has a mix of dialogues in Tamil, Kannada and Malayalam, thus allowing the audience to get the sense of its vast canvas. But it also serves to accentuate that the story could happen anywhere in India – and not just in territories defined by a particular language. The core story is a mix of several real-life incidents that have shocked the country at large in the recent years including the 2019 rape and murder of a veterinarian doctor in Hyderabad and its aftermath. The movie also conveys that just because equally appalling horrors that happen every hour in the country go unreported as they are not ‘news-worthy’ enough, it doesn’t mean they deserve any less anger. In fact, it stresses multiple times that the perpetrators use “your silence as their licence”. The makers also shine the spotlight on the media for being the judge, jury and executioner in several cases and influencing the outcome of a larger populace.

Despite being on screen only in the second half, Prithviraj is exemplary in his role as a cynical lawyer. He brings a mix of gusto and anguish to his character’s defense arguments, shaking you to the core and then some. Dijo has also used his character to show the voice of resolute defiance armed with truth, thereby making it stand apart from that of the dissent of the youth. Suraj Venjaramoodu as ACP Sajjan shows he is an actor capable of seamlessly playing any shade. While the reason for his casting becomes apparent, it justifies the character’s overall arc. Mamta Mohandas plays the role of Saba with relative ease, and shows once again why she’s a capable performer in her scene where she confronts the college authorities. Vincy Aloshius and Shammi Thilakan put on surprisingly brilliant performances in the film as a college student seeking justice and a senior lawyer defending a protagonist, respectively.

The technical aspects of the movie – be it Sudeep Elamon’s cinematography or Sreejith Sarang’s editing – serves to magnify the scope of the movie, while never releasing the audience once it gets you hooked, right after the college protests. The film’s casting department too deserves special mention with actors such as Pavan Shetty and Raja Krishnamoorthy being cast in roles that exude power – but of contrasting kind.

That said, the movie isn’t without its flaws. The third act is sloppily pieced together, mainly because it falls for the sequel trap like some of the recent big-budget, star-driven Malayalam films. The past of Prithviraj’s character is almost retrofitted to the story, which would have been better if it was contained in a single film. Also, the pieces of what the viewers get to see from his past isn’t coherent enough until viewed in the second movie and thus only serves in prolonging Jana Gana Mana, which is at 162 minutes long.

Verdict: Wrapped as a gripping entertainer packed with brilliant performances, Dijo Jose Antony’s Jana Gana Mana puts forth thought-provoking questions to the audience and makes for a must-watch, if you are a fan of socio-political thrillers.

Jana Gana Mana is available to stream on Netflix from June 2.

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Jana Gana Mana Movie Review (2022)

• Jana Gana Mana

Dijo Jose Antony's 'Jana Gana Mana' is a well-performed drama (Prithviraj Sukumaran, Suraj Venjaramoodu) about the slipperiness of truth

Jana Gana Mana Movie Cast & Crew

Dijo Jose Antony's Jana Gana Mana opens with a voiceover that says truth always triumphs. That is what we are taught to believe, right? But is that statement itself true? Because, today, aren't we surrounded by so many lies and manipulations and so much militant wokeness that the "truth" is no longer tangible. Take the case of a married woman who died while eloping with her lover. The news appears on the last page. Take the case of a college professor who is murdered. That becomes the headline. Both are women. Both are dead. But isn't there a discrimination being made based on the "assumed character" of the individual? Take another instance. Let's say we are asked who is likely to be a criminal: a  fair-complexioned, middle-class looking man vs. a dark-skinned, lower-class (and possibly oppressed-class) man? The film includes us in these situations. It points a finger at not just its bad characters but also the audience.

The audience consists of those armchair critics who become the judge and jury whenever there is a newsworthy event. The audience includes our media, which revels in sensation: whether it is Sushant Singh Rajput or Rohith Vemula. The audience includes organisations that claim to fight for a gender or class or whatever cause, but with their own agenda. The audience includes students who protest and are labelled anti-national and urban Naxals. Most of us think we are doing the right thing, but are we really? Do we have all the facts? And if we don't, are we ensuring that "truth always triumphs"?

This is a fantastic premise, and I wish Sharis Mohammed's writing and Dijo Jose Antony's direction had been equally fantastic. Both these aspects are merely functional and very broad, very A-for-apple. Adding to the feeling of being hammered on the head with the film's emotions is the huge background score by Jakes Bejoy. I don't want to complain too much, because this is an effective and very watchable movie. I am just wondering how much better things would have been if the form had matched the powerful content.

The screenplay does not know how to hold back (especially towards the end, where it tries to do too much) – but there's no denying that the writing has bern thought through. We are in 2014. We see a bit of Prithviraj's story, during what a journalist calls a "sensational case". We then move to 2019. This is another "sensational case," but this time the actor on screen is Suraj Venjaramoodu. At another point, we cut to a hospital with an ailing little girl. We see her grandfather. We are told he is in some kind of problem. But before we can find out what this problem is, we cut away to something else. This is the back-and-forth structure, and we spend a lot of time in the aftermath of the crime. We see the reactions of students, the media. We even get a politics professor who urges his students to join the nationwide protests.

In other words, everyone is convinced they know what the "truth" is – or at least, they think they are on a mission to find out what the "truth" is and punish the people responsible for the crime. And the second half becomes a courtroom drama: in other words, it is set in the actual place where the job of finding out the truth is done. Suraj is a single father. Prithviraj walks with a limp. No one is "perfect". And the facts of the case are not "perfect", either. Just like the truth is evasive in real life, the film, too, keeps pulling the rug from under our feet just as we think we know… the truth. 

Jana Gana Mana has two star performances, but because of the ultra-broad filmmaking, Suraj's subtleness fades in front of Prithviraj's sensational and very controlled flamboyance. It's not easy to play to the gallery and yet not do so in an overt fashion: Prithviraj does just that. In every scene, we sense his inner fury, and every second he is on screen, the film goes up several notches. The dialogues, the direction, the writing – everything feels better. Even the pace feels less flabby. And of course, the content is so strong that the film hits hard in the latter portions. There's a line about a Dalit sweeper. There's a passage which repeats the word "rape" and "shock". Had the whole film worked at this level, we would have had a classic, but despite my reservations, I am not complaining. This is a solid drama that makes us think about the nature of truth.

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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'Jana Gana Mana' review: Suraj Venjaramoodu steals the show in a thought-provoking political thriller

Packs in too many sensitive topics and raises crucial questions

When a film borrows its title from the country's national anthem, it gives away some clues. One would expect it to revolve around a socio-political issue, evoke the national spirit, or highlight something that touches the audience's conscience. Filmmaker Dijo Jose Antony's latest outing Jana Gana Mana does exactly this, and more.

The political drama makes you rethink about some of the major national headlines (if you track the news) and viral social media campaigns that shook the country over the past few years. On the whole, Jana Gana Mana may feel like one of those year-end rewind of events that made headlines, because we tend to forget the biggest stories when the next 'breaking news' strikes. From campus protests, rape, dalit rights, caste discrimination in India's universities, student suicides and fake encounters, Jana Gana Mana packs in too many sensitive topics and raises piercing questions. Even with so many themes squeezed into one, the film does not feel unnecessarily heavy—that is where the well-written script stands out.

Set in Karnataka in 2019, the film revolves around the rape and death of a college professor Saba Mariam (Mamta Mohandas). Police discover her charred body and it triggers public outcry and a series of protests as students demand justice for their teacher. As police crack down on the protesting students, the rebellion spills over to other campuses (including Maharaja's college in Kerala). The scenes are reminiscent of the nation-wide students' protests in 2020.

ACP Sajjan Kumar (Suraj Venjaramoodu), who is entrusted with the probe, vows to nab the culprits and deliver justice in 30 days. Sajjan dominates the first half of the film, with numerous clap-worthy dialogues and performances. Jana Gana Mana is in fact, a Suraj show all through. With his body language and dialogue delivery, Suraj aces the role of a police officer handling a high-profile crime that has garnered national attention. 

Veteran actress Shari makes a comeback to Malayalam cinema as Saba's bold mother Shabana. Her restrained performance is notable in a role that could have gone overboard with melodrama.

Prithiviraj Sukumaran's fans get to cheer for their favourite actor only in the second half in which he takes up most of the screen-time. If the film seemed like a crime investigation thriller in the first half, in the second half, it swiftly shapes into a courtroom drama that steers the plot in a different direction. Prithviraj as Aravind Swaminathan delivers a good performance in the scenes that are driven solely by dialogue delivery and not mass action or dance sequences. Prithviraj, who was last seen in the comedy family drama Bro Daddy, which he also directed, fits comfortably into the role of a middle-aged lawyer who uses a crutch. Shammi Thilakan, as advocate Raghuram Iyer who appears for the State, is a wonderful revelation and casting choice.

Actress Vincy Aloshious delivers a note-worthy performance as Gouri Lakshmi, a students' leader with fire in her belly. Vincy, who has impressed audiences with her realistic performances recently in Bheemante Vazhi and Kanakam Kamini Kalaham, proves she is here to stay for a long time.

Director Dijo, who debuted with Queen , which also revolved around rape and death of a woman, seems to be drawn to subjects of social injustice. The film also borrows heavily from yet another major news event—the 2019 Hyderabad gang rape case and the ‘extrajudicial execution’ that followed the incident. In the second half, Dijo and team raise pertinent questions about the definition of 'justice' in the country. What does it mean when a person from a certain community or socio-economic background is denied what is rightfully theirs? Why is it that the fight for justice is more traumatic for some section of people in the country? Where does media stand in the tussle between politics and crime? How does media narrative affect public perception and change the course of a case? Writer Sharis Mohammed treads carefully as he paints the current political landscape of the country—be it in the references to a minority community or the depiction of the colours of a political party's flag.

With too many issues packed into a single plot, it feels like the film lacks a powerful antagonist. Guess one could say it is the system that is the villain here—the lust for power or 'adhikaram' as we hear many a time in the film. 

The dialogues in Jana Gana Mana keep shifting between Malayalam, Kannada and Tamil—this might get a bit difficult for a viewer who only understands Malayalam. However, all of these are given Malayalam subtitles and that deserves special mention. For those expecting a face-off between Prithviraj and Suraj after their wonderful performances in Driving License, this might come as a disappointment. The film's runtime could have been cut short a bit. As for Prithviraj's character, his back-story was given a rushed treatment—a part that would probably get attention in the sequel that was recently announced.

Movie: Jana Gana Mana

Director: Dijo Jose Antony

Cast: Prithviraj Sukumaran, Suraj Venjaramoodu, Mamta Mohandas, Shari, Vincy Aloshious

Rating: 3.5/5

• Prithviraj Sukumaran

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Jana Gana Mana Review: Suraj Venjaramoodu Shines in Dijo Jose Antony’s Second Shot at a Social Justice Film

(Spoiler Alert)

Courtrooms in Indian mainstream cinema are akin to theatre. There are artists and an audience, rendition of the hyperbole and abandonment of objectivity. The actors belt out long dialogue, while the camera impassively records the faces and the proceedings.

The courtrooms in director Dijo Jose Antony ’s films – Queen (2018) and the latest, Jana Gana Mana – are loud and explosive, headlined by a lawyer, the superhero in a black coat, who is immune to character development. He lashes out at everyone in the room and the audience, occupying a moral ground so high that one would need a telescope to sight them from the earth. In Queen , Salim Kumar played an angry lawyer who turned the entire latter half of the film into a tirade. In Jana Gana Mana , Prithviraj trembles in rage and terrorises the courtroom. The film, centred on the death of a college professor Saba ( Mamta Mohandas ), argues against media trials in high-profile cases. It asks the viewers to not succumb to sentimentalism but look for what lies beyond the obvious. Ironically, Jana Gana Mana uses the same language of hyperbole it warns the audience against.   

The film unfolds in the fictional town of Ramnagara in Karnataka, in a central university that eerily resembles Jawaharlal Nehru University (JNU). The scenes of student protest and subsequent police violence on the campus take cues from the press reports on the incidents that unfolded in JNU in January 2020.   

Subtlety, clearly, is not Dijo’s strength. The narrative teems with expository dialogue and scenes. In an early scene set on the college campus, at Saba’s memorial service, the chairman of the university takes the podium and delivers an offensive speech, blaming Saba for stepping out at night and terming the student protests in connection to her death part of a larger anti-national movement. Not just him but all the villains in Jana Gana Mana proclaim their villainy and reveal their carefully chalked out plans in casual phone calls or on public platforms. The film’s audacity to speak up against India’s dangerous right-wing nationalism and the ingrained misogyny of Indian society is rare and praiseworthy. But Dijo’s assumption that the evil likes to flaunt itself is a fatal error.  

Similar absurdities, contradictions and empty rhetoric are plenty in Jana Gana Mana . The background score ( Jakes Bejoy ) is relentless, loud and too passionate, a sonic equivalent of the film’s characters. The student leaders, played by Vincy Mathew and Dhruv, are simplified into wannabe revolutionaries whose courage is marked by their angry rants and valiant screams. In the final part of the film, the students and the audience at the court, who had been passionately listening to the lawyer’s arguments against mob justice, fling themselves into yet another act of mob violence, vandalising police vehicles and baying for the blood of the cops. The lawyer, whose superpower is his self-righteousness, berates the honourable judge and the witnesses for their hypocrisy and prejudice against people who come from a certain socio-economic background. Yet, Saba, who holds the film’s emotional narrative together, is always framed like a cliched angel, the camera highlighting Mamta’s glowing face, impeccable smile and upper-class demeanour. There are more victims in the film, who resemble people like you and me, but they get nothing more than a story lazily lifted from newspaper headlines.  

Dijo finds a great lead character in assistant commissioner Sajan Kumar, played by Suraj Venjaramoodu , but he gropes in the darkness about structuring a character arc for him. Great films conceal clues to create delicious plot twists, mediocre films put up charades. The viewer should feel betrayed by the big reveal in the climactic scene as the film had, until then, given them the feeling that they were privy to Sajan’s subjective point of view of the events. The hurried negation of this impression is the film’s weakest link.   

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Dijo crams several issues into the narrative. But he makes a daring move by pointing out the ingrained social biases in the media reporting of sexual harassment cases in a country that likes to consecrate its young rape-murder victims. By far, the best element of the film is Suraj’s portrayal of Sajan. His grey shades come through very well in his introduction scene when he negotiates with a group of protesting students and gains entry to the college campus. “They are just students, not an army of Taliban,” he remarks to his subordinate and walks to the student leaders, quickly concealing his contempt and switching to a position of empathy. In the end, the film is taken over by Prithviraj’s thundering speeches, but Suraj’s subtle mannerisms and careful body language stay memorable. The actor effortlessly turns Sajan into someone who deserves your pity and wrath.  

This Jana Gana Mana review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

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Jana Gana Mana movie review: Suraj Venjaramoodu rises above a script that lacks cohesion, clarity, depth, finesse and calm

Jana Gana Mana is undistinctive, notwithstanding its brave throwaway lines and moments that made my liberal heart sit up and take notice.

Language: Malayalam

The spotlight falls on the superstar of the new Malayalam film, Jana Gana Mana , only in the second half of the narrative. Once the camera rests on Prithviraj Sukumaran’s character though, it rarely moves away from him as he belts out speech after speech…after speech…after speech…steeped in powerful messaging that, despite the loudness and melodrama of those scenes, is largely well reasoned.

A film has to be more than the message/s it wishes to drive home though. And messages are conveyed by more than just speeches. Neither point appears to have struck director Dijo Jose Antony or writer Sharis Mohammed.

The tension pervading Jana Gana Mana is sparked by news of the rape and death of a popular college lecturer called Sabha Maryam (Mamta Mohandas). What follows is an apathetic response from her institution, student unrest, nationwide outrage, sensationalised media coverage and finally, a police encounter that sparks hysterical approval from the masses and celebrities. Sounds familiar?

The case of a doctor in Hyderabad who was raped and murdered after which the accused were killed by the police when they allegedly tried to escape is still fresh in public memory.

Jana Gana Mana draws on this and multiple other news developments and newsmakers from real life throughout the script in big and small ways. For instance, a point is made fleetingly about prejudice against Muslim women who cover their heads, a public figure says a person can be gauged by their attire while another cites outward appearance as his barometer, and a Machiavellian politician declares that he is willing to ban notes and even votes to retain power. All these are fitted into a script that ends up being primarily about caste oppression.

No doubt in the present Indian political scenario it could be argued that each of these elements is an act of courage and, therefore, laudable. Fair enough. But courage alone is not cinema, especially when these disparate components are not woven together into a cohesive whole.

Most characters in the film barring one - a policeman played by Suraj Venjaramoodu - are sketchily drawn and even his graph is unconvincing, the director relies too heavily on Prithviraj’s larger-than-life persona to sustain Jana Gana Mana post-interval, the script feels too crowded, and the narrative jumps from one point to the next to the next instead of flowing smoothly.

The bad writing extends to poorly constructed scenes and awkward dialogues, made worse by strained acting from several actors, in addition to unrelenting music.

The overall effect of the film is its high volume, not just in a literal sense but also in terms of its tendency to underline every point raised, through the use of its soundtrack and studied camerawork. An overly long epilogue announces a sequel to Jana Gana Mana , adding to the film’s already exhausting length.

The tacky direction and writing are combined with confused politics. Jana Gana Mana ’s title is drawn from India’s national anthem and alludes to the minds and will of the people, yet the film dithers in its position on mob justice. A college lecturer speaking to his class about their duty to fight the good fight appears to trivialise the Kiss of Love campaign started in Kerala to oppose self-appointed moral police. The incident that looms over the entire proceedings in Jana Gana Mana is a woman’s rape yet at the forefront of the script are two men - ACP Sajjan Kumar (Suraj) and advocate Aravind Swaminathan (Prithviraj). The woman herself, Sabha, is written as a rough outline of a kind soul committed to social welfare, and nothing beyond that. Caste bias, discrimination and atrocities are Jana Gana Mana ’s main concerns, yet the reins of the battle are not handed to the marginalised community in question.

The saviour complex should not come as a surprise for anyone who has seen the director’s film Queen with its deeply problematic treatment of rape; nor should the tackiness. In fact, in both respects, Jana Gana Mana is a vast improvement on Queen.

Prithviraj and Suraj teamed up not too long back in Lal Jr’s smartly written and crisply directed Driving Licence (2019). That film was an excellent addition to the Malayalam New New Wave from which has emerged some of the best Indian cinema of the past decade. Jana Gana Mana is undistinctive, notwithstanding its brave throwaway lines and moments that made my liberal heart sit up and take notice.

Despite the film’s limitations, Suraj manages to turn out a warm performance that rises above the failings of the script. Prithviraj’s charisma makes it hard to ever dislike him on screen, but it is just as hard not to wonder why a star who has directors and writers lining up at his door chose to back this film that lacks cohesion, clarity, depth, finesse and calm.

This review was first published in April 2022 when Jana Gana Mana was released in theatres. The film is now streaming on Netflix.  

Rating: 2 (out of 5 stars)   

Anna MM Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial  

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Jana Gana Mana - A focused and fulfilling thriller!

Published date : 30/apr/2022.

Jana Gana Mana Review

Jana Gana Mana is a social crime thriller starring the lovely Driving License duo Prithviraj Sukumaran and Suraj Venjaramoodu in the lead roles. The film is directed by Dijo Jose Antony, whose previous and debut film was Queen [2018].

Mamta Mohandas, is a college professor who is very attached with the students of the campus. Unfortunately, she is found dead and the reports say that she has been raped. Students go on a strike for justice and it becomes a National headline. Suraj Venjaramoodu is the ACP who takes charge as investigative officer to this burning case. Prithviraj Sukumaran plays the role of a lawyer.

Writing/ Direction

The entire first half takes a sweet time to set the mood of the film and establish the story at an unhurried pace. The investigative plot points in the initial portions are middling that felt as a disadvantage while watching, but there is a purpose behind it which is revealed in the later half of the film. The engagement is a bit on and off till the break-out, but the parts that are on the bright side are too good. Also, taking a deeper look at the flow, certain angles are kind of predictable even before they are conveyed to the audience, so there’s no big shock value in the proceedings. Prithviraj is introduced at the interval point and the whole second half flies high. His opening arguments in the court are so unique and fresh, deserves a big round of applause as each and every statement he submits is like fire, instantly relatable and thought-provoking at the same time. The courtroom drama takes the story forward and we get to witness a neatly written script that’s narrated in a fascinating way. The character placements, logical reasoning at most places are perfectly etched to deliver a striking cinematic experience. Not all the angles of the subject are convincing as in a major situation where one of the central characters all of a sudden voluntarily initiates a master plan isn’t justified well. Second half is superb and it hides the flaws that exist in the early stages of the movie, and ends with a bang too.

Performances

Though there is no scope in the story to provide a goosebumps face-off sequence between Prithviraj and Suraj like in Driving License , both have been given equally important roles and both have done their best. Apart from them, Mamta Mohandas plays a major role as the story revolves around her death, her characterization is good and motivating, she impresses in the flashback portions. Kudos to the casting choices, meticulously done and thus even the smallest of roles get a fine portrayal on screen. Plenty of experienced artists have come together to bless and give a soul to the characters written. Sridivya who plays Prithviraj’s wife hardly appears for five shots and no clue why she was cast.

Technicalities

A couple of emotional songs are touching as the tunes are impressive. Background score is a mixed bag, some portions are okay but many scores resemble the music of some other language films like Tenet , etc. Camera work is neat, night shots have been captured with a good amount of frame depth and detailing. Editing helps the narrative at a lot of places, despite the story going back and forth at a bunch of places, the presentation is crystal clear mainly because of the editor’s contribution.

Though the first half clearly registers the subject and the characters involved that sets up the stage for a courtroom drama, it wasn’t tight in terms of engagement. But an engrossing second half with very minimal complaints overshadow the flaws and the end product is largely satisfying.

Rating - 3.25/5

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Jana Gana Mana (2022) ‘Netflix’ Review: A Theatrical investigation of Truth with Conscience & Spine

I recently finished reading a book called A Time Outside This Time , written by Amitava Kumar. It investigates fake news from pre and post-pandemic eras and delves into how we access truth in general. What we consume regularly through the media can be recycled fiction with no truth. It can have a bigoted, prejudiced spin to it. The new Malayalam film Jana Gana Mana, directed by Dijo Jose Antony, operates in the same terrain. Instead of merely pointing fingers at any person or entity, it objects to the nature in which we access and categorize truth. It shows how a hunger for seeking truth can result in being satisfied with almost anything that you receive under the garb of truth.

RELATED TO JANA GANA MANA: PUZHU [2022] ‘SONYLIV’ REVIEW: A BROODING DECONSTRUCTION OF PRIVILEGE  

The film opens up with Prithviraj Sukumaran’s character being taken away by the cops and a woman (his wife) sobbing in the middle of a riotous crowd. Through this sequence, Jana Gana Mana establishes its rebellious tone. The character at the center of this emotion appears much later in the film. Instead, we are presented with an incident of a brutal murder being investigated by the police force. A young female Muslim college professor is raped by some assailants whose body is burned and left out in the open. From this piece of information, the cops are shown to be looking for the perpetrators behind this heinous crime. While this is happening, the students from the college where she used to teach are filled with rage because of the tragic death of their beloved professor. These students put all kinds of pressure on the system that deliberately slows down the process of justice.  

While cops are generally perceived as the blind followers of the political parties in power, they appear much more warm and friendly through their interactions in Jana Gana Mana. The person at the helm of this police force is ACP Sajjan Kumar (Suraj Venjaramoodu), who is a single parent living with his school-going, bright kid. He claims to adhere to the law and help the students out with cooperation from his side if they continue a peaceful protest. As an audience, you sense in him a hero who would believe in and work for justice, a hero that you would root for. He appears as the sanest and calm-headed person with an idealistic drive. However, after a certain incident related to the accused, he is pulled into the court for questioning where he has to defend himself against the accusations against him on the humanitarian front.

Also, Read : BHEESHMA PARVAM MOVIE EXPLAINED: ENDING AND THEMES ANALYSED 

Prithviraj Sukumaran’s character – Arvind Swaminathan, now appears as the opposing counsel in this case. He looks much older, walking with a stick quadripod. His arguments present the plea for truth & justice and ring true to the state we are in. His performance hammers every word and every point that the film tries to present through him and creates a desired intense impact. However, due to this, Arvind feels like an omniscient narrator instead of a believable character in this tale, which makes him seem like a mere writing device to communicate the arguments of those behind the camera. While the intent of the film cannot be appreciated enough, the cinematic translation appears inorganic as a result of that. If, as a filmmaker, you have a highly convincing & pertinent argument to make that is emotionally potent in itself, why is there a need for dramatization? I’m asking this solely because I wish what the director Dijo Jose Antony and the writer Sharis Mohammed plead to not be ignored because of its theatricality, to not be dismissed because of its conventional cinematic grammar. Its potency gets sidelined at moments when it succumbs to the same sensationalism that it tries to criticize.

Despite my issues with its form, the content from Jana Gana Mana cannot and should not be ignored. The script puts the burning questions of today with rigor and conviction. The discrimination based on caste, religion, and gender that goes unnoticed because of the ones causing it being in power, is heavily criticized throughout the film. The criticism comes out as bluntly as required. From the traditional media to the new-age social media, the reactionary people come at the center of criticism. Through Arvind’s character, the film presents the ways in which an institution can be brutal to uproot your life if you dare speak even a bit against them. As a result, the film makes you enraged for the reasons you ideally should. Amidst its relevant script, what stands out is the understated performance by Suraj Venjaramoodu that portrays his troublesome character arc with utmost subtlety. The credit for the rollercoaster of emotions that you feel for the ACP’s character largely goes to him.

JANA GANA MANA IS AVAILABLE TO WATCH ON NETFLIX

JANA GANA MANA TRAILER

JANA GANA MANA LINKS: IMDb , Wikipedia DIRECTOR: DIJO JOSE ANTONY CAST: PRITHVIRAJ SUKUMARAN, SURAJ VENJARAMOODU, VINCY ALOSHIOUS, SRI DIVYA, MAMTA MOHANDAS, SRI DIVYA, RAJESH BABU, DHRUVAN

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Malayalee from india ( 2 / 5).

During festivals like Vishu or Eid, as a Malayalee, it is common to encounter photoshoots seemingly promoting unity in diversity, especially emphasizing Hindu-Muslim harmony.  Malayalee From India  is an overblown cinematic equivalent of such kind of content you casually swipe past on your mobile screens, owing to its insincerity.

Cast: Nivin Pauly, Dhyan Sreenivasan, Anaswara Rajan, Manju Pillai Director: Dijo Jose Antony Aalpparambil Gopi (Nivin Pauly) and Malghosh (Dhyan Sreenivasan) are freeloaders who support the right-wing party currently in power. Gopi is a blind sympathizer who blindly defends his party leader's communal and xenophobic rhetoric, while Malghosh is a volatile loafer filled with bigotry in his mind. This makes way for some satirical and chucklesome jabs in the film's opening scenes. Gopi's mother (Manju Pillai) is the one trying to make ends meet in her household, which comprises her son and daughter. Manju Pillai, as evident from her recent performances, is once again in her element, skillfully portraying the anguishes of her character. In this first hour, we are also introduced to Krishna (Anaswara Rajan), Gopi's one-sided love interest or his muse for exhibiting his stalking skills. One can only wonder about the relevance of this pointless track, which oozes anything but romance, in the overall scheme of the story. It only serves to prolong an already overlong narrative.

The film makes a tonal shift when Malghosh is triggered enough to do something nasty, creating a rift between Hindus and Muslims that forces him and Gopi to go into hiding. The prevailing tensions force Gopi to move abroad, a prospect that he always loathed, amidst the COVID-19 pandemic, just before the lockdowns. The beginning of the latter half sees Gopi trying hard to adapt to a completely new landscape somewhere in the Middle East with only one grumpy superior to take orders from, who happens to be Pakistani. In some of the following portions, Nivin gets to effectively showcase his penchant for comedy, even if it feels like a spoof on Aadujeevitham, as it is set on an agricultural farm in the middle of a desert. Gopi hates working under a Pakistani initially, and predictably enough, as part of his coming of age, they both form a special bond.

The major issue of the film is unarguably the preachy monologues that bombard you one after the other. Of course, subtlety has never been a strong suit for director Dijo Jose Antony and writer Sharis Mohammed, who previously collaborated on  Queen  (2018) and  Jana Gana Mana  (2022). Unlike their previous successful films, which were mediocre as a whole,  Malayalee From India  also lacks the kind of gut punches or theatrically charged moments that can cleverly manipulate the audience. The only moment that comes close to achieving this is when Shine Tom Chacko delivers a rousing cameo. Instead, we get a middling film replete with topics about Hindu-Muslim tensions, biting off more than it can chew, while sermonizing the audience and stating the obvious as if there is no tomorrow. It even takes cues from  Bajrangi Bhaijaan  (2015), only to end with another melodramatic monologue about chasing dreams by a Pakistani teen, extolling the virtues of the people from God's own country, with Gopi as her role model. As the film draws to a close, viewers may find themselves puzzled about its overarching message. The film initially delves into Kerala's communal politics, but even after emphasizing the futility of hatred, Gopi's stance on the outfits propagating hate remains uncertain.  Malayalee From India  ends up as another testament to the fact that storytelling requires more than just good intentions.

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'Malayalee From India': Nivin Pauly's much-anticipated movie struggles to find its footing | Movie Review

Nivin Pauly's latest film, 'Malayalee From India', directed by Dijo Jose Antony, hit the theatres today amidst high expectations. With the release of the 'Krishna' song, fans hoped for a return to Nivin's classic charm. However, the subsequent trailer painted a different picture, presenting the film in a serious tone. In reality, the movie is a combination of both, but unfortunately, it falls short of expectations.

The plot revolves around Gopi (played by Nivin), an unemployed individual from a quaint town in Kerala who lives carefree and indulges in political antics, often landing himself in trouble. His steadfast friend Malghosh (Dhyan Sreenivasan) stands by him through thick and thin, actively participating in his misadventures. The film chronicles Gopi's journey and the escapades he encounters along the way.

The film feels like a messy amalgamation of comedy, patriotism, and feel-good moments that fail to blend cohesively. While the initial parts show glimpses of Nivin Pauly's past performances, reminiscent of 'Oru Vadakkan Selfie,' the humour doesn't quite hit the mark. Although there are comedic moments between Nivin and Dhyan, they aren't sufficient to drive the story forward. One of the film's shortcomings is its attempt to juggle too many themes simultaneously, resulting in none receiving adequate attention—a flaw reminiscent of Dijo's previous work, 'Jana Gana Mana.'

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The film is undeniably Nivin Pauly's one-man show, as he remains energetic throughout, striving to engage the audience. However, Dhyan and Anaswara Rajan, have limited impact in the movie. Despite the buzz surrounding the 'Krishna' song, the dynamic between Anaswara and Nivin's characters remains unexplored in the film.

It appears that Dijo has included an abundance of elements in the film, leading to an overflow of feel-good moments that feel forced. The movie takes its time to convey its messages. For instance, there's a scene where Nivin presents a copy of 'Wings of Fire,' A. P. J. Abdul Kalam's autobiography, to a Pakistani girl. While intended to evoke applause, the scene falls flat as it echoes a formula seen in numerous other films depicting harmony between India and Pakistan.

In terms of performance, Nivin Pauly delivers solidly, playing his character decently well. Manju Pillai shines as Nivin's mother, delivering a natural and effortless performance. Dhyan provides excellent support to Nivin with his performance. The music is decent, though not exceptional.

The movie has its moments, eliciting applause from the audience at certain points. Dijo demonstrates an adept sense of timing in placing such scenes, where viewers experience an adrenaline rush. For example, the film here and there addresses the current political landscape in Kerala and India and touches on the divisive nature of religion, which is commendable. Nevertheless, the film tends to become overly preachy at times. It's a one-time watch, and not too bad if you're seeking something light.

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Malayalee From India

01 May 2024

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Malayalee from India Movie - Release Date, Cast, Review and Other Details

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Malayalee from India is a political action thriller film which is directed by Dijo Jose Antony and it stars Nivin Pauly, Dhyan Sreenivasan and Anaswara Rajan. The story of the film revolves around an unemployed individual from a quaint town in Kerala who later indulges in political antics, often landing himself in trouble.

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Malayalee from India REVIEW: Nivin Pauly shines in this Dijo Jose Antony-directed mediocre socio-political dra...

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Malayalee From India review: Even Nivin Pauly’s honest performance can’t save this disappointing film

Malayalee from india review: nivin pauly makes a bland comeback with this mediocre film that doesn't quite know what it wants to be..

After the stupendous success of Nivin Pauly’s character in the recent Varshangalkku Sesham, comes the Malayalam star’s Malayalee from India. Helmed by the director of Jana Gana Mana, this dramedy sees Nivin Pauly team up with Dhyan Sreenivasan. (Also read: Heeramandi review: Sanjay Leela Bhansali's sprawling, sparkling debut show is blissfully free of his cinematic trappings )

Gopi (Nivin Pauly) lives in Mullakara, Kerala, where he whiles away time playing cricket or campaigning for a political party. His best friend is Malghosh (Dhyan Sreenivasan) and the two end up getting in trouble most of the time to the despair of Gopi’s mother, who earns a living doing various jobs to support the family.

One day while playing cricket, Gopi smashes a ball into a house where a group of men has come together for a meeting. A fight breaks out between Gopi's gang and these men but it settles down soon. But it is when India is playing Pakistan in a crucial cricket match that things go awry. Pakistan wins the match and to the dismay of a few people in the village, a bunch of kids burst crackers. The people around assume it is for India’s defeat and given that the kids hail from the Muslim community, they are enraged.

Malghosh drags Gopi from home and he ends up attacking those families and communal riots break out in the village. Numerous men are seriously injured and Malghosh and Gopi are wanted by the police as well community members. Gopi is forced to flee his village and ends up in the Middle East in the middle of nowhere on a camel farm, bang in the middle of the Covid pandemic. And his supervisor is a Pakistani who loves cricket. What happens to Gopi? How does the case against him get resolved?

The disappointing writing

Director Dijo Jose Anthony’s film has tried to combine various social issues in this film--ranging from communal politics and manipulation of religion by politicians--to the current political atmosphere in India. Unfortunately, the script is poorly written by Sharis Mohammed and though the intention to highlight the importance of communal harmony can be applauded, the execution is below average.

The story is not coherent and jumps from one issue to the other, haphazardly, with comedic bits peppered throughout. For instance, initially, we see Gopi involved in politics and romancing Krishna (Anaswara Rajan) and are led to believe the film is connected to politics in Kerala. But the theme completely changes a few minutes later - and Krishna also vanishes from the film. And from Kerala, Gopi suddenly ends up on a camel farm in the desert in the Middle East. Why a camel farm in the desert? In fact, this reminds us of the recent hit film, The Goat Life. One gets the impression that most Malayalis - for some odd reason - end up on goat or camel farms in the UAE and then try to escape their horrendous lives there.

Nivin Pauly doesn’t look fresh in this film and though he performs with all his heart, it’s not enough to save Malayalee from India. Dhyan Sreenivasan and Nivin share good chemistry on screen and the comedy between them works out for the audience. However, the more serious message that the director and writer want to convey just gets lost in this mediocre film. Malayalee From India is disappointing and is not the comeback that the talented Nivin Pauly deserves.

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'Malayalee From India' Review: Nivin Pauly film takes too long to deliver message

Director dijo jose antony's 'malayalee from india' is a film that is on point with its political commentary. but, the shallow writing in the screenplay makes it a middling film, says our review..

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• 'Malayalee From India' released in theatres on May 1
• The film is helmed by Dijo Jose Antony
• Nivin Pauly, Dhyan Sreenivasan and Anaswara Rajan play pivotal roles in the film

Release Date: 1 May, 2024

These days, making a political drama is like walking on a tightrope. With propaganda films often taking over theatres and OTT platforms, it has become increasingly difficult to make a political film which can offer a new point of view. Director Dijo Jose Antony's 'Malayalee From India' is a film that is strong in its political stance and takes a dig at the current scenario in the state and our country.

Aalparambil Gopi (Nivin Pauly) is a funny guy, who loiters in the village with his friend Malghosh (Dhyan Sreenivasan). An untoward incident without proper understanding results in violent clashes between the Hindus and Muslims in the village. To safeguard Gopi from the police and the violent mob, he is sent abroad to work. Do Gopi and Malghosh realise the extent of their mistakes? How does Gopi's time away from his family help him?

Dijo Jose Antony's 'Malayalee From India' is a self-aware film. It makes fun of the current political scenario in Kerala, Indo-Pak relations, Nivin Pauly's weight gain and whatnot. These comedy stretches offer top-class political commentary, which is casual and hard-hitting at the same time. One of the biggest assets of 'Malayalee From India' is that it's a politically strong film. It tells you how a man, who has no understanding of politics, could escalate a situation with his half-baked thoughts.

Dhyan Sreenivasan's Malghosh reminds us of people who believe in these WhatsApp forwards and gravitate towards religious hate. The film shows the repercussions of his act and how Gopi suffers because of it even though he had no clue about it. While this makes for a brilliant story, 'Malayalee From India' is far from being perfect.

The film beats around the bush too much before it gets its point across. The film initially looks like a dark comedy, then goes on to give political commentary. Then, it literally takes us to Pakistan, which reminds us of Prithviraj's 'Aadujeevitham'. Then, the film gets serious again towards the end and offers a much-needed social message. This is where 'Malayalee From India' falls flat on its face. It takes us to different places and different genres before trying to convey its message.

Nivin Pauly, as Gopi, is perfect for the role. His comedy timing, especially the sequences with Dhyan's Malghosh, is a hoot. These comedy sequences worked majorly and saved the film from being a dull affair. If only the screenplay didn't take us all around, it could have been a solid film from Dijo Jose Antony after 'Jana Gana Mana'.

Anaswara Rajan had too little to do in 'Malayalee From India' and did not impact the story in any way. Deepak Jethi, who played the role of a Pakistani, along with Nivin Pauly, had some heartwarming scenes.

'Malayalee From India' was also too long for its good. The film, which has its heart in the right place, had a handful of feel-good scenes, which worked well. However, the rest of the film seemed too long. The movie looked like a result of what happened when 'Aadujeevitham' and 'Bhajrangi Baijaan' had a crossover. The film also talks about religious politics and communal hatred. Throw in some Pakistani education activist Malala Yousafzai, you get 'Malayalee From India'.

2.5 out of 5 stars for 'Malayalee From India'. Published By: K Janani Published On: May 1, 2024 ALSO READ | 'Dear Students': Nayanthara and Nivin Pauly reunite after five years