While shooting the first half (of the first half) of Ayaal Njanalla on the white sands in the Great Rann of Kutch in Gujarat, actor-turned-director Vineeth Kumar seemed to have romance in mind. And such complementary settings—a lovely Garba dance, and a land so famed for its beauty. And then, he seemed to have been hit by a sandstorm that bundled him to urbane Bengaluru, where the story takes an altogether unforeseen route. But the charm of this new journey wanes soon as the idea makes for a landing.
The inclination of the Malayalam industry to experiment with different tongues continues here as well with Prakashan (Fahadh Faasil) mouthing a northern Kozhikode dialect. After successfully code shifting from Kozhikode Malayalam, to a little of Kutchi and Hindi, Prakashan is forced to get to Bengaluru after the 'Shylock' of the land brews trouble for him.
Apart from the one twist that the tale has beaded into the narrative, the story by filmmaker Ranjith is a relapse of the overly-endorsed Bollywood syndrome of you-have-my-face. The doppelganger story that it is, it struggles to create momentum or depth, and is undecided whether to be funny or continue with the chord (that keeps breaking off) of despair and some obscure soul searching.
While the detailing deserves credit—be it the antiquated yet beautifully embroidered Kutch wardrobe, signature silver jewellery, the mud huts or the dusty sand spewing lanes—brevity must have been the key word for a story that had minimal ideas reserved for good execution of it. While the screenplay is fresh and exploits opportunities for some good humour, the stretched out scenarios go in tandem with the mundane and the banal.
Fahadh Faasil as the naïve Gujarati-bred-Malayali, is bang on and saves the day with his child-like demeanor that resurfaces in every frame; he is the trump card played to good degree and great effect. T.G. Ravi, as his perpetually wasted uncle does a commendable job as well. Bringing in the young dancer who is all over YouTube with pan Indian acclaim (even international), Akshat Singh might garner mileage for more popularity.
Renji Panicker seems to be on cameo roll, and makes a more dramatic exit than entry. While Tini Tom and Nobi (as the unabashed uncouth moneybag) dig on that funny rib, it's Sreekumar and Fahadh who make up the funny in the movie. Mrudula Murali may have shown promise but it's hard to judge that within a span of one song and three dialogues.
Ayaal Njanalla has Fahadh Faasil, humour that punctuates every third or fourth frame and a played-to-death climax. So, as the Tele Brands tagline goes, choose wisely, live well!
Rating: 2.75/5