Lijo Jose Pellisery has always been an unapologetic maverick when it comes to his moviemaking. It took a while before his brand of cinema found widespread commercial or critical acclaim, and even then, he did not really compromise on his vision. But the point is, for a lot of his work, you need to buy into the vision he has set for the story. The same holds true for his magnum opus, with Mohanlal in the lead, Malaikottai Vaaliban. It is a masterfully inventive fable set in some undetermined time in the past, and it needs us to invest in the worldview he is purveying. And for those who do, the experience is almost magical. 

The story at its bare bones is about a legendary, almost mythical wrestler called Malaikottai Vaaliban, who travels by bullock cart from land-to-land finding combatants to grapple with and emerge inevitably victorious. He is accompanied in this by an aging guru/father figure, Ayyaanar (Hareesh Peradi), and foster brother, Chinna Payyan (Manoj Moses), as they tote his feats while traveling. The landscape is a deserted, mostly barren one, interspersed with signs of life in between. A Malayali Western, if you will, of the kind Sergio Leone made big at one time in the original West. At one of these places, he comes across the dancer Ranga Rani (Sonalee Kulkarni) and her transgender minder, Thenamma. In saving her honour from the evil Chamathakan (Danish Sait), he charms her enough for them to become traveling companions. But he also makes a lifelong villain in Chamathakan, who turns up every now and then in the story with a grating laugh. At one of the villages where they overcome a corrupt champion and his mother, another young woman (Katha Nandi), besotted with Chinna Payyan, also joins their troupe. It has all the makings of a happy family unit, and yet, in timeworn cinematic fashion, evil lurks both within and outside our protagonists’ minds.

One of the main set pieces happens in a Portuguese colony set up around a fort, one which was claimed by the foreign invaders after enslaving and brutalizing the native population there. While there is some caricature in their portrayal, there is some inventiveness in the double act villainy which they comprise. The extended fighting sequences here involve some remarkable cinematography and inventive use of color and space. It is in the aftermath of this momentous midpoint assault that the rot sets in for Vaaliban and his comrades as Chamathakan and his cohorts, as well as misunderstandings within, bring things to a head. It all sets up for a riotous finale that also gives clues to a possible sequel.

This is a film which has elicited polarizing reactions from those who loved it or hated it. And as I already mentioned above, if you buy in to the almost Amar Chitra Katha like world and characters that Pellisery has brought to life, you may just love it like I did. I am a huge admirer of the director and his vision, but I don’t think everything he does works. The last time he tried a much-awaited big budget extravaganza, the result was the godawful Double Barrell (2015), an almost unwatchable film which I figured I could forgive as every director may have one misfire within him, as long as he redeemed himself afterwards. And that he did without a doubt over the next few years. And now comes the next big extravaganza. I can say without a doubt that this is no Double Barrell. This is a captivating experience for those of us who are willing to suspend disbelief and immerse ourselves in the almost magic-realist realm the film creates. Amongst the minor flaws which found included the performance by Danish Sait. His mannerisms and tone as Chamathakan are more grating on the senses than that of a unique villain and even by the film’s standards are very overdone. As a primary antagonist for a large part of the story, he doesn’t inspire much awe or fear. And if I may be a bit blasphemous here, I was not always convinced by Mohanlal in the title role. He is brilliant and charismatic, as is expected from him, for the most part, but there were times I felt the fighting scenes could have been much more intricate and realistic with a more agile actor in the role. The wrestling scenes mostly get over without much ado and do not reach up to the standards of the other battle sequences in the film.

Overall though, I was enthralled by the artistry and vision on display here and I would love to return to this world if and when a sequel does make its way to our screens. Love it or hate it, this is one that definitely should be watched so that you can decide on which side of the debate you fall on. Most assuredly, you will not be bored or indifferent to it.