Palthu Janwar review: When 'natural narrative' falls flat

After the remarkable success of Fahadh Fazil-starrer Maheshinte Prathikaram in 2016, Malayalam cinema was taken over by the ‘natural films’ fad, colloquially dubbed ‘Parakrithi padams’.

While such films with good content worked well with the masses and critics alike, many trashy films of this genre were made during this period, almost getting to the point of emasculating the industry altogether. If this has not dawned on Malayalam film lovers as yet, watching Palthu Janwar will help you arrive at that conclusion.

Palthu Janwar is bankrolled by Bhavana Studios, partnered by the trio of Fahadh Fazil, Dileesh Pothan and Syam Pushkaran, and this happens to be their first film without Fahadh in the lead, and with good reason.

The film required somebody to play the average guy, a commoner, someone with a little bit of innocence left in him for the audience to relate to. Although Fahadh has done his share of such roles, probably his stardom is keeping him away from doing such films regularly. More importantly, a Fahadh Fazil film would evoke a lot of expectations from the audience and Palthu Janwar has nothing much to offer.

This is why one cannot comprehend why Bhavana Studios would venture into making this film in the first place. Of course, you don’t expect Basil Joseph to turn down a lead role for such a production house.

The casting of Basil Joseph as the hero is not the issue here, nor is the fact that Palthu Janwar is yet another ‘prakrithi padam’ churned out from the assembly line of such films. What makes Palthu Janwar an utter disappointment is that the makers have taken the audience for a ride with content that could fit into a short film.

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The film is set in Kudiyanmala, a settlers’ town in Kannur, where the protagonist, Basil Joseph as Prasoon, gets assigned to work as a livestock inspector on compassionate grounds after the death of his father.

Prasoon’s passion for becoming an animator never takes off after his company runs into losses and, he is unable to find his footing in Kudiyanmala despite his capacity to adapt, which he lists among his skills in one scene.

Running off home, he is coaxed back to Kudiyanmala by his sister (played by Unnimaya Prasad). The rest of the plot is all about how he finally gets the hang of the place after some bloopers.

While the plot does sound promising, that does not translate to screen, with writing being the major letdown. One would have expected the award-winning Vinoy Thomas and Aneesh Anjali to come up with a layered narrative in such a setting but they flatter to deceive after a promising first half, where you get introduced to the cast.

Some of the characters do come off as very original and natural to their surroundings, which is clearly a result of great observation and character study.

Indrans plays one such slightly quirky character whose traits would certainly remind you of someone from the countryside. There’s also Shammi Thilakan, who goes missing after the first half, reminding you of his illustrious father, actor Thilakan from Mookkillarajuathu (1991) with his bald pate and eccentric mannerisms.

Johny Antony is more understated than his usual appearances, which is a relief, but apart from these performances, there is not much going for the film.

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The disappointing second half would definitely remind you of Padmarajan’s Thinkalazhcha Nalla Divasam (1985), and I do not mean it in a good way.

Film buffs would have read about the pains undertaken by the Padmarajan to get a pregnant cow to deliver and shoot it for the film back then, which can be done through VFX these days. Prasoon rises to the occasion here, of course, as the midwife, through his mastery in animation, we are told.

The likes of Dileesh Pothan as a priest provide for some distraction even as the film chugs to an end with the successful ‘delivery’. As the end credits roll, the promo song with animals on the ramp and kids start playing, something probably done as an afterthought to compensate for the lack of content and star value in the film.

There is a scene involving Johny Antony’s ethereal conversation with a bust of Baby Jesus near a cemetery in the first half, which is not followed up, and no explanation is offered for it later.

Palthu Janwar is directed by the debutant Sangeeth P Rajan with Kairali TV-fame Renadive cranking the camera, both doing a decent job. The film is actually let down by the writing with loose ends and a plot resting on a wafer-thin storyline where you keep expecting something to happen, which never does.

The runtime is just under two hours. The more charitable reviewer, especially non-Malayalis, might dub this a great effort at juxtaposing animals with human beings and being a tribute to motherhood and such crap, which I definitely would not venture into.

Basil Joseph does a reasonable job as the protagonist with an understated performance. He revealed the other day to have committed to the film without even hearing the script, solely based on the reputation of the makers.

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Perhaps ‘prakrithi padams’ have run their course in Malayalam cinema, and those who vouch by it should switch to short films. The film’s title Palthu Janwar is inspired by Hindi texts taught in Kerala government schools to evoke curiosity and nostalgia at the same time. Watch only if you have time to kill.