Ayal Njanalla (Mal) Film Review: Much To Be Desired
The only saving grace that the movie offers the viewers is Fahad Fazil believes Anoop S
On Aug 01, 2015


If “Ayal Njanalla” is a pointer to the kind of movies that film actor turned debutant director Vineeth Kumar plans on helming in the future, his career calling the shots behind the camera is going to be as disconsolate as his stint in front of it.

Prakashan (Fahad Fazil) lives with his maternal uncle (T G Ravi) in Kutch (Gujarat), after being uprooted from Koyilandy during his childhood days. He is a content youngster fending for both of them working in the latter’s highway workshop and is in love with Isha (Mrudula Murali), a half Malayali.

Following the death of his uncle, Prakashan makes a trip down south to Bangalore in an attempt to sell off his family property in his native place to raise money to clear off the debts that his uncle has made. A few days into his life in Bangalore, Prakashan, who resembles one of the celebrity stars in the Malayalam movie industry, is made to attend a function in disguise as the actor in a college by his new found friend Jomon (S P Sreekumar).

This particular intervention gives you a sense of the trajectory that the movie is about to plunge into. Your insight is not letdown as the protagonist’s life as well as the movie gets totally out of control and falls sharply into a deep abyss.

In an age when media as well as social media proliferation is so much pronounced, it is shocking to see that the makers believe that such a story can take place.

The only saving grace that the movie offers the viewers is Fahad Fazil. Despite having such a poor script at his disposal, he puts in a committed performance and is indeed a delight to watch in the few scenes in which he has to use his dramatics to good use. You feel sorry for the highly talented actor who is now in the midst of a slump with “Ayal Njanalla” likely to be the newest addition to his list of duds. One merely wishes to see him being more fastidious in his choice of roles.
A few comical scenes by S P Sreekumar and Nobi intermittently manages to raise genuine bouts of laughter but such tiny bits and pieces alone cannot save this puerile movie. It seems that all that the two leading ladies, Mrudula Murali and Divya Pillai, have to do is to look pretty on screen as they have been relegated to non-consequential roles.

Tini Tom and Renji Panicker hams up their part largely due to the fact that they have been provided with outlandish characters.


Vineeth Kumar should sit down and assess where he has made mistakes as a director. It wouldn’t need an extremely bright mind to fathom that the basic storyline is in itself the biggest cause for the downfall of his maiden experiment.

Back in the 1990s, it was common practice for filmmakers to make movies lasting close to two and a half hours. Times have changed and it is getting increasingly irritating to sit through movies without any content for such a long duration and the movie disappoints you in that aspect as well. The rendition of the song “Neelavan Mukile” by vocalist Job Kurien and others is a delight to the ears. In all probability, “Ayal Njanalla” will be remembered largely for the picturization of this song in the movie.

At the end of “Ayal Njanalla”, you seriously wonder how could Renjith, the very same person who in recent times mesmerized us with movies like Pranchiyettan and the Saint and Indian Rupee for its realistic portrayal of contemporary society, come up with such a story which laid the foundation for such a shoddy movie.


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