Despite the mixed bag of opinions clouding Malaikottai Vaaliban, I enjoyed this iconic film from frame to frame. Bowing Lijo’s inimitable craft and return of Mohanlal to his true league. I see this film as a spellbinding visual journey of a larger-than-life folklore character Vaaliban through rugged territories, exhibiting his supremacy over his opponents as a warrior/wrestler. Vaaliban is beyond a local wrestler, he is a gallant nomad, he wins territories and people and races ahead. I don’t insist he should be emotionally connected to anybody or anything on the way.
A lonely kid who lived on books, MV took me to my childhood fantasies- reading and imagining how those characters would appear real. Drawing references from around the globe, Malaikottai Vaaliban infuses a bewitching blend of colours, costumes, tones, and dialogues into its frames. Jog your memories and identify them. Oh…can anyone capture the obsessive effect of its frames in words?! Undoubtedly no. Cinematographer Madhu Neelakandan deserves nothing less than an Oscar for those riveting shots that elevate Malaikottai Vaaliban to truly international.
As Vaaliban moves from place to place, his valour, vigour and fame traverse along. In his bullock cart, his guru Ayyanar and son Chinnappayyan accompany him. Otherwise, his heart is empty as an orphan. Even then, the film shies away from establishing an emotional bond between them until the end. Malaikottai Vaaliban is not particular about its timelines, yet it faced its worst criticism about the dramatic dialogues. It’s a fact, there wasn’t any traditional fluidity in the script by PS Rafeeque and Lijo to keep a camaraderie with the audience. Malaikottai Vaaliban is a visual splendour never pauses to build or hail its characters including Vaaliban. While narrating the backstory, LJP gives this special privilege to Ayyanar (Hareesh Peradi) and he aces it, like in previous parts. Mohanlal remains Vaaliban throughout.
Katha Nandi (Jamanthi) graced the screen. Sonalee Kulkarni's Rangapattinam Rangarani was seducing. Danish Sait’s Chamathakan had the traits of the Joker. Manoj Moses caught my eye. Kudos to the arty art department and Prashanth Pillai for live and sedating scores.

Must theater watch
Much left to write.