Wicked: For Good Review – A Dazzling, Defiant Spectacle That Reinvents the Movie Musical

Wicked: For Good Review – A Dazzling, Defiant Spectacle That Reinvents the Movie Musical

By Rasesh Patell

Founder & Chief Critic, CharotarDaily.com

There are films, and then there are cultural events. The journey of Wicked from a beloved but dense novel to a generation-defining Broadway behemoth, and now, to the silver screen, has been freighted with the kind of expectation that can crush a project before the first frame is even shot. As a critic, one approaches such a film with a shield of cynicism, ready for the inevitable compromises and disappointments of adaptation. I am thrilled, and frankly a little shocked, to report that you can leave your shields at home. Jon M. Chu’s Wicked: For Good is not merely an adaptation; it is a cinematic rebirth. It’s a jaw-dropping, emotionally staggering, and visually spectacular triumph that understands the soul of the stage show while unapologetically using the full, untethered power of cinema to elevate it into something entirely new.

This is not a simple retelling. This is a grand deconstruction and a glorious reassembly, a film that will stand as a benchmark for the modern movie musical for years to come.

The Chu Effect: Directing Oz with Maximalist Glee

Let us begin with the maestro in the director’s chair. Jon M. Chu, who previously demonstrated his flair for vibrant, kinetic storytelling in Crazy Rich Asians and, more pertinently, In the Heights, was the perfect, and perhaps only, choice for this material. Where other directors might have been intimidated by the theatricality of Wicked, Chu leans into it with unrestrained joy. His approach is one of cinematic maximalism. He understands that Oz is not a place for subtlety; it is a world of impossible architecture, shimmering light, and emotions painted in the boldest of colours.

From the opening sequence, Chu establishes a scale that the stage could only ever suggest. We don’t just arrive at Shiz University; we soar over the jagged, emerald-tipped mountains of Oz, swooping down into a meticulously crafted campus that feels both magical and tangible. This isn’t a set; it's a world. Consider the student arrival scene, a riot of colour, movement, and intricate choreography that feels less like a staged number and more like an organic explosion of youthful energy. Chu’s camera is a participant, not an observer, weaving through crowds, catching whispered conversations, and mirroring the dizzying excitement of a new world. He uses the visual language of film not to contain the musical numbers, but to detonate them.

This is most evident in the film’s centrepiece and litmus test: “Defying Gravity.” On stage, the number is a masterclass in theatrical magic, relying on lighting and a single wire lift. Chu transforms it into an operatic, earth-shattering declaration of self. The sequence begins with a claustrophobic intensity, the camera tight on Cynthia Erivo’s face as her resolve hardens. But as the orchestra swells, the walls of the Emerald City palace seem to fall away. The camera pulls back, and back, and back, until Elphaba is a soaring figure against a tumultuous sky, the city sprawling beneath her. Chu doesn't just show her flying; he makes you feel the wind, the vertigo, the terrifying and exhilarating freedom of her choice. It’s a moment that justifies the film's entire existence.

Cinematography: Painting with a Palette of Emerald and Rose

Visually, Wicked is a feast, and cinematographer Alice Brooks deserves immense credit for crafting a visual language that is both cohesive and dynamically contrasting. The film is a tale of two palettes. Glinda’s world is all soft pastels, rose-gold light, and shimmering lens flares—a world seen through a bubble, beautiful but slightly unreal. Brooks shoots these scenes with a delicate, floating quality, the camera often gliding as if on air.

In stark contrast, Elphaba’s world is one of deep shadows, earthy tones, and sharp, sometimes uncomfortable, angles. When we are with her, the lighting is more naturalistic, the textures more gritty. This visual dichotomy is not just aesthetic; it’s thematic. The film visually separates the manufactured perfection of the Ozian elite from the raw, misunderstood reality of Elphaba. A prime example is the scene in Dr. Dillamond’s classroom. The lighting is stark, casting long shadows that underscore the growing menace of the political changes in Oz, a stark contrast to the sun-drenched frivolity of the Shiz quad just outside. The Emerald City itself is a masterwork of production design and cinematography—not just a green city, but a city of a thousand shades of jade, malachite, and chartreuse, gleaming under an artificial light that feels both wondrous and oppressive.

The Screenplay: The Courage to Add and Expand

Adapting a beloved two-and-a-half-hour musical, especially when splitting it into two parts, is a narrative minefield. Screenwriters Winnie Holzman (who wrote the original musical’s book) and Dana Fox navigate it with remarkable skill. They wisely resist the urge to simply film the play. Instead, they use the space afforded by cinema to flesh out the world and deepen the emotional stakes.

The most successful expansion is the subplot involving Dr. Dillamond, the goat professor. In the film, we see more of his life outside the classroom, his family, and the creeping, insidious nature of the "Animals should be seen and not heard" movement. This provides a tangible, heartbreaking context for his eventual silencing and makes Elphaba’s burgeoning activism feel less like a plot point and more like a deeply personal, moral imperative. It adds a layer of political verisimilitude that makes the fantasy world feel alarmingly relevant.

The decision to split the film is, of course, the elephant in the room. I can confirm that Wicked: For Good does not feel like half a story. It feels like a complete, satisfying first act of an epic. The narrative arc—from rivalry to begrudging respect to a profound, soul-deep friendship between Elphaba and Glinda—is fully realized. The film ends precisely where it should, at the climax of "Defying Gravity," leaving the audience not on a cheap cliffhanger, but on a moment of powerful, earned transformation. The emotional journey of this first film is whole.

The Performances: A Quartet of Thespian Magic

A musical lives or dies on its performances, and Wicked assembles a cast that doesn’t just hit the notes; they inhabit the souls of their characters.

Cynthia Erivo as Elphaba: This is a force-of-nature performance, a volcanic eruption of talent that will be remembered for decades. Erivo possesses the vocal firepower to shatter glass, but her true genius lies in her vulnerability. From her first moments on screen, hunched and guarded, she conveys a lifetime of hurt and ostracization. Watch her during the quiet moments, like her heartbreakingly gentle rendition of “I’m Not That Girl.” The power in her voice is matched only by the pain in her eyes. And when she finally unleashes in "Defying Gravity," it's not just a song; it’s a catharsis, a primal scream of identity that will leave you breathless. She is, in a word, definitive.

Ariana Grande as Glinda: Let the skeptics be silenced. This is not stunt casting; it is an act of perfect synergy. Grande uses her pop-star effervescence and impeccable comedic timing to bring "Popular" to life in a whirlwind of giddy, hilarious energy. But her performance is far from one-note. Grande masterfully charts Glinda’s evolution from a shallow, self-obsessed socialite to a woman burdened by conscience and complicity. The subtle cracks in her perfect facade, the flicker of doubt in her eyes as she witnesses the Wizard’s machinations, are beautifully played. She harmonizes with Erivo not just vocally, but emotionally, creating a chemistry that is the undeniable, beating heart of this film.

Jeff Goldblum as The Wizard: Goldblum is not so much playing the Wizard as he is revealing the Wizard to have been Jeff Goldblum all along. His signature blend of quirky charm, avuncular warmth, and a vaguely unsettling menace is deployed to perfection. In his hands, the Wizard of Oz is not a simple charlatan but a charismatic, deeply insecure politician who has started to believe his own propaganda. His rendition of "A Sentimental Man" is a masterclass in disarming manipulation.

Michelle Yeoh as Madame Morrible: Where the stage version of Morrible can sometimes lean into caricature, Oscar-winner Michelle Yeoh gives her a terrifying, regal stillness. She is a political operator of the highest order, her every smile a calculation, her every word a veiled threat. The chilling quietness of her delivery makes her pronouncements of "wickedness" land with the force of a death sentence.

Final Verdict

Wicked: For Good is a stunning, overwhelming cinematic experience. It is a film that respects its source material enough to know when to adhere to it and when to bravely expand upon it. Jon M. Chu has crafted a musical for the modern age, one that is bursting with colour, heart, and soaring spectacle, while being anchored by a set of towering, career-defining performances. It is a profound story of friendship, identity, and the courage it takes to speak truth to power, wrapped in one of the most visually resplendent packages of the year. While the true test will be how the second part concludes the saga, this first installment stands on its own as a dazzling, emotionally resonant, and utterly triumphant piece of filmmaking. It doesn’t just fly; it soars.

Final Score: 9.5/10

Who Should Watch This?

• Devotees of the Broadway Show: Absolutely. You will be thrilled by the reverence for the source material and awed by the new cinematic scale. Go with an open mind and prepare to see your favorite show in a breathtaking new light.

• Fans of Movie Musicals: This is your Chicago, your Moulin Rouge! for this generation. It’s an essential, benchmark-setting entry into the genre. A must-see.

• Newcomers to Oz: If you’ve never seen the show, this is the perfect entry point. The film does a brilliant job of world-building and establishing the emotional stakes, requiring no prior knowledge.

• Cynics Who Think Movie Musicals Are Dead: This is the film that might just change your mind. The sheer passion, craft, and blockbuster energy on display are undeniable. Give it a chance.

Laalo - Krishna Sada Sahaayate Review: Krishnadev Yagnik’s Leap of Faith Redefines Devotional Cinema for a New Gujarat

Laalo - Krishna Sada Sahaayate Review: Krishnadev Yagnik’s Leap of Faith Redefines Devotional Cinema for a New Gujarat

As the founder of CharotarDaily.com, I have spent the better part of a decade charting the seismic shifts in our Gujarati film industry. I’ve witnessed the rise of urban comedies, the tentative steps into thrillers, and the persistent struggle to find a cinematic language that is both modern and authentically ours. It is from this vantage point that I approached Krishnadev Yagnik’s latest offering, Laalo - Krishna Sada Sahaayate.

Let’s be clear: this film was a gamble of epic proportions. Yagnik, the man who gave an entire generation its anthem of friendship with Chhello Divas and recently chilled us to the bone with the slick thriller Vash, stepping into the arena of the devotional drama? The genre itself is a relic, often associated with the grainy, sermon-like productions of a bygone era. Even more daring was his casting. To eschew his frequent, bankable collaborators and instead place his faith in a cast of promising but less-established faces like Karan Joshi, Reeva Rachh, and Shruhad Goswami? On paper, it sounded like a recipe for either a groundbreaking masterpiece or a catastrophic misfire.

After sitting through its runtime, enveloped by the theatre's darkness and the film's unwavering conviction, I can report that Laalo is neither. It is something far more complex and, for our industry, far more important. It is a deeply sincere, technically proficient, and emotionally resonant film that, while not without its flaws, represents a courageous and necessary step forward. This is not just a review; this is an analysis of a pivotal moment in contemporary Gujarati cinema.

The Screenplay: A Foundation of Faith or a House of Cards?

A devotional film lives and dies by its screenplay. The central challenge is to portray unwavering faith without becoming preachy, and to manifest the divine without descending into cheap theatrics. The script, penned by Yagnik himself, builds its foundation carefully and, for the most part, successfully.

The first act is a masterclass in character establishment. We are introduced to Laalo (Karan Joshi) not as a saint, but as a man of profound, almost childlike simplicity. His relationship with his idol of Lord Krishna isn't one of distant reverence; it’s an intimate friendship. A standout early scene shows Laalo meticulously preparing a small meal, placing it before the idol, and then speaking to it as one would to a confidant, sharing the day's trivialities and seeking silent counsel. This isn't grand drama; it’s quiet, lived-in faith, and it’s what makes Laalo instantly endearing and believable. The screenplay wisely invests this time to ensure that when Laalo's faith is tested, we, the audience, are invested in the outcome.

However, the foundation shows cracks as the narrative progresses into its second half. The conflict, introduced via a skeptical antagonist (Shruhad Goswami) who wants to build a factory on temple land, feels regrettably conventional. The character's motivations are painted in broad strokes, lacking the nuance that defines Laalo. Consequently, the central conflict occasionally veers into a simplistic "faith vs. greed" dichotomy that undermines the film's more profound explorations.

Furthermore, the script sometimes leans too heavily on convenient miracles to resolve plot points. While miracles are inherent to the genre, their execution here can feel more like a deus ex machina than a natural culmination of Laalo's spiritual journey. A moment where a crucial document appears just in the nick of time, for instance, feels less like divine intervention and more like a writer’s convenience. The dialogue, which is so beautifully natural in the first half, occasionally slips into sermonizing in the latter half, with characters delivering speeches that feel aimed at the audience rather than each other.

Direction: Krishnadev Yagnik’s Divine Detour

This is where my analysis must draw heavily on comparative context. The Krishnadev Yagnik of Chhello Divas and Shu Thayu? is a director of frenetic energy, rapid-fire dialogue, and a distinctively urban rhythm. The Krishnadev Yagnik of Vash is a craftsman of tension, using slick editing and a claustrophobic atmosphere to build suspense. The director of Laalo is someone else entirely: a patient, observant storyteller content to let moments breathe.

Yagnik’s directorial triumph in Laalo is his trust in stillness. He understands that the power of this story lies not in action, but in reaction—specifically, in the unwavering calm on Laalo's face. Consider the powerful scene where Laalo is publicly humiliated, accused of being a fraud. Yagnik resists the temptation to use a swelling, melodramatic score or frantic cuts. Instead, he holds the camera in a tight close-up on his protagonist. We are invited to see the hurt, the confusion, but underneath it all, a bedrock of serenity. The silence is deafening and far more effective than any dramatic flourish could have been. In these moments, Yagnik proves he is a far more versatile director than his filmography might suggest.

Where the direction falters is in its occasional lapse into a visual style more suited to television. Some of the transitional shots and the staging of larger group scenes lack the cinematic grandeur the subject matter deserves. While the film is handsomely shot, it rarely achieves the kind of visual poetry that could have elevated it from a great story to an unforgettable cinematic experience. The pacing, while deliberately meditative, does sag in the middle, caught between establishing the conflict and moving towards the climax. It’s a stark contrast to the razor-sharp pacing of Vash, demonstrating that while Yagnik has mastered this new, slower tempo, he hasn't yet perfected its rhythm.

Cinematography & Technical Craft: Painting Bhakti on a Digital Canvas

The film’s technical aspects are a clear indicator of the rising standards in Gujarati cinema. The cinematography is one of the film’s strongest assets. The visual palette is deliberate and meaningful. Laalo’s world—his humble home, the village temple—is bathed in warm, soft, golden light, creating a sanctuary of peace and divinity. In stark contrast, the antagonist’s corporate world is depicted with cold, sterile blues and harsh, clinical lighting. This isn't a subtle choice, but it's an effective one, visually reinforcing the film’s central thematic struggle.

The aarti sequences are shot with a genuine sense of reverence, using slow-motion and carefully composed frames to capture the spiritual ecstasy of the moment. The camera often adopts a low-angle perspective when focused on Laalo during his prayers, visually positioning him as a humble servant looking up towards the divine. The musical score is commendable, though it occasionally strays into being overly descriptive. The main devotional theme is beautiful and haunting, effectively underscoring Laalo’s internal state.

The Performances: The Director’s Ultimate Leap of Faith

A film like Laalo rests almost entirely on the shoulders of its lead actor. And it is here that Krishnadev Yagnik makes his boldest, most definitive move. Instead of relying on a bankable star from his creative stable, he places his faith in a relative newcomer, Karan Joshi. This is a monumental task for any actor. The role demands not star charisma, but a profound internal stillness and the ability to convey unwavering faith through the most subtle of expressions. By casting a fresh face, Yagnik asks the audience to see the character of Laalo first, not a known actor playing a part.

And the gamble pays off. Karan Joshi delivers a remarkably restrained and deeply felt performance. He embodies Laalo’s innocence without making him seem foolish, and his devotion without making him seem fanatical. The real magic is in his eyes and his serene body language; he truly makes you believe in this man's simple, powerful connection to the divine. It is a breakout performance that is a testament to both his own talent and Yagnik's eye for it.

As Laalo’s wife, Reeva Rachh provides the film’s crucial grounding force. She is the audience’s surrogate, loving Laalo for his goodness while being tethered to the practical realities of their life. Rachh portrays this quiet strength with grace and subtlety. The chemistry between Joshi and Rachh is not one of fiery romance, but of a gentle, shared understanding, which feels perfectly authentic to the narrative. Shruhad Goswami, as the skeptical antagonist, effectively portrays modern cynicism, though the script doesn't always give him the depth to become more than a functional obstacle to Laalo's faith.

Final Verdict

Laalo - Krishna Sada Sahaayate is a brave, heartfelt, and significant film. It dares to be quiet in a cinematic landscape obsessed with noise. It dares to be sincere in an age of irony. While its screenplay resorts to familiar tropes in its second half and its direction occasionally lacks a truly cinematic flourish, its shortcomings are far outweighed by its strengths. Krishnadev Yagnik has successfully pivoted, proving his versatility and his deep understanding of human emotion, regardless of genre.

The film's ultimate triumph lies in its courage—the courage to tackle a forgotten genre and the courage to trust new talent with a profoundly demanding story. Karan Joshi's breakout performance is the soul of the film. Laalo is a commendable and emotionally rewarding cinematic pilgrimage that, despite a few stumbles on the path, ultimately reaches a destination of sincere spiritual resonance.

Who Should Watch This?

• Absolutely: Families looking for a clean, meaningful, and spiritually uplifting film to watch together. Anyone interested in seeing a different kind of Gujarati cinema that moves beyond the typical urban comedy.

• Give it a try: Those who are interested in the evolution of our industry and want to see filmmakers taking significant creative risks. Admirers of character-driven dramas.

• Maybe avoid: If you are strictly looking for a fast-paced thriller or a light-hearted entertainer. Viewers who are deeply cynical about faith-based narratives may find the film’s unwavering sincerity difficult to engage with.

The Black Phone 2 Review: Scott Derrickson Dials Up The Terror, But Is The Connection Clear?

The Black Phone 2 Review: Scott Derrickson Dials Up The Terror, But Is The Connection Clear?

By Rasesh Patell

Founder & Chief Critic, CharotarDaily.com

There is a unique and terrible dread that accompanies the announcement of a sequel to a beloved, self-contained horror film. It’s the fear that lightning, so brilliantly captured in a bottle, will be crudely uncorked in a cynical cash grab, leaving behind nothing but a hollow echo of what once was. When I first walked out of Scott Derrickson’s The Black Phone, I felt I had witnessed something special—a taut, emotionally resonant, and terrifyingly effective story of survival and sibling love, built on the hallowed ground of a Joe Hill short story. It was perfect. It needed no continuation.

So, you can imagine the blend of trepidation and cautious optimism with which I entered the cinema for The Black Phone 2. Derrickson and his creative partner C. Robert Cargill return, as do the phenomenal young leads Mason Thames and Madeleine McGraw, and, most mysteriously, Ethan Hawke. The central question hanging over this project was not if it could be scary, but if it could justify its own existence. Could it expand upon the trauma of Finney and Gwen Blake without cheapening their hard-won victory?

The answer, I am both relieved and thrilled to report, is a resounding, bone-chilling yes. The Black Phone 2 is not the sequel I expected, and it is all the stronger for it. Instead of merely concocting a new boogeyman for a rinse-and-repeat abduction plot, Derrickson and Cargill have crafted a haunting exploration of scar tissue, legacy, and the terrifying notion that some evils don't die—they just wait.

Direction: The Echoes in the Silence

Scott Derrickson’s greatest strength has always been his understanding of atmosphere over cheap jump scares. He proved it in the suffocating dread of Sinister and perfected it in the first Black Phone. Here, he wisely sidesteps the "bigger, louder, more" sequel trap. The horror in The Black Phone 2 is quieter, more insidious. The film is set three years after the events of the first, and Derrickson’s direction masterfully visualizes the invisible wounds carried by the Blake siblings.

Where the first film was steeped in a hazy, 1970s nostalgia that was violently punctured by The Grabber’s crimes, this film’s aesthetic is colder, sharper. The world has moved into the early 1980s, but for Finney, the sun-drenched warmth of suburban Denver is gone, replaced by a permanent, emotional winter. Derrickson communicates this brilliantly in a sequence early in the film. Finney (Thames) is in a high school woodshop class. The high-pitched whine of a table saw triggers a flashback, not to a specific memory, but to a feeling—the oppressive silence of the basement. Derrickson doesn’t use a cheap cut. Instead, he pushes the camera in slowly on Finney’s face as the ambient sound of the classroom fades, replaced by a low, humming dread. The friendly teacher’s voice becomes distorted, guttural, and in the reflection of Finney’s safety goggles, we see the briefest, almost subliminal flicker of The Grabber’s devil mask. It’s a masterful piece of filmmaking, showing us that the prison is no longer made of concrete and soundproofed walls; it’s inside his own head.

Cinematography: The Bruising of Memory

Brett Jutkiewicz, returning as cinematographer, adjusts his visual palette to serve this new thematic focus. The warm, grainy Super 8mm footage that represented Gwen’s psychic visions in the original is gone. Her dreams are now rendered in stark, hyper-realistic 35mm. In one particularly harrowing vision of a new victim, there is no comforting celluloid grain to distance us. The image is crisp, cold, and immediate. The blood is a shocking crimson against pale, sterile tile. This choice signifies that the "magic" of her ability is no longer a strange, almost whimsical gift; it’s a curse, a direct and brutal window into ongoing suffering.

The color palette of the film is deliberately bruised. The hopeful blues and yellows of the first film are replaced with slate grays, muted browns, and a sickly, almost jaundiced green that seems to permeate the walls of the Blake’s new home. It’s a visual language that screams of infection, suggesting that the evil of The Grabber has leached into the very environment these children inhabit.

Screenplay: A Conversation with the Devil

The script, once again from Derrickson and Cargill, is where the film takes its biggest and most successful swing. A new string of abductions has started, bearing a chillingly similar, yet distinct, M.O. to The Grabber. But this new killer is not the central antagonist. The true villain of The Black Phone 2 is the ghost of The Grabber himself, and his weapon is the telephone.

Finney, unable to part with the object that both saved and damned him, has kept the disconnected black phone. One night, it rings. But on the other end is not a helpful victim from the past. It is the calm, inquisitive, and utterly demonic voice of The Grabber (Hawke). The screenplay brilliantly reframes the phone not as a tool of salvation, but as a direct line to Finney’s personal devil. The Grabber, existing in some psychic ether, doesn't offer threats; he offers analysis. He dissects Finney's trauma, he poisons his memories, he tries to convince him that they are one and the same—survivors bound by violence. This psychological chess match is the engine of the film, and it is far more terrifying than any physical confrontation.

The dialogue between Finney and Gwen remains the film’s vibrant, beating heart. Their dynamic has shifted. Gwen is no longer just the foul-mouthed, fiercely loyal little sister; she is a desperate protector, watching her brother slowly recede into the darkness The Grabber is pouring into his ear. An exchange where she finds him listening to the silent phone says it all: "You hang up on him, Finney," she pleads, tears in her eyes. "You hang up on him right now!" He simply replies, his voice a dead monotone, "He says he knows why mom did what she did." It’s a gut punch, showing how the evil has evolved from a physical threat to a spiritual cancer. The only slight wobble in the script is the motivation of the new, physical killer, which feels a shade underdeveloped compared to the profound psychological warfare happening on the phone line.

Performances: A Symphony of Trauma

The film simply would not work without its cast, who elevate an already strong script into something truly special.

Mason Thames as Finney Blake delivers a performance of stunning maturity. The resourceful, reactive boy from the first film is gone. In his place is a withdrawn, haunted young man. Thames internalizes Finney’s PTSD with heartbreaking subtlety. It’s in the slump of his shoulders, his inability to meet anyone’s gaze, the way his hands tremble when he reaches for the phone’s receiver. He sells the immense weight of being the "boy who got away" and the horror of realizing his tormentor never truly left.

Madeleine McGraw as Gwen Blake is, once again, the soul of the movie. If Finney is the internalized trauma, Gwen is the externalized fight. McGraw channels a ferocious, desperate love for her brother that radiates off the screen. She is the audience's anchor, her raw-nerved frustration and terror mirroring our own. The profanity-laced prayers to a Jesus she’s not sure is listening are back, but this time they carry the weight of someone who has seen real evil and knows exactly what is at stake. It’s a powerhouse performance that avoids any precocious child actor tropes.

And then there is Ethan Hawke. How do you bring back a villain whose power was in his physical presence and chillingly unpredictable mask-play? You strip him of everything but his most terrifying weapon: his voice. As a spectral presence on the phone, Hawke is magnetic and horrifying. He modulates his voice from a soothing, almost fatherly whisper to a guttural, demonic rasp. He is the ultimate gaslighter, a serpent whispering poison into Finney's ear. In a standout sequence, he recounts a shared memory—seeing a movie with Finney’s mother—and slowly twists it, injecting details of her sadness, her fragility, concluding with the venomous line, "She was looking for a way out, Finney. Just like you." It's an act of pure psychological violence, and Hawke delivers it with an unnerving glee that will crawl under your skin and stay there.

More Than an Idli Kadai: Why Thiruchitrambalam is Dhanush's Soulful Masterpiece of the Mundane

More Than an Idli Kadai: Why Thiruchitrambalam is Dhanush's Soulful Masterpiece of the Mundane

By Rasesh Patell | Founder & Chief Critic, CharotarDaily.com

Let’s clear the air right from the start. If you’ve searched for "Idli Kadai movie" on Netflix, you’ve likely landed on Mithran R. Jawahar’s magnificent 2022 film, Thiruchitrambalam. The confusion is understandable; food is a central, comforting motif in this story. But to reduce this film to a simple tale about a food delivery boy is to miss the forest for the trees. It’s like calling The Godfather a story about an olive oil business. Thiruchitrambalam is not a film you simply watch; it’s a film you inhabit. It is a warm, enveloping hug of a movie that eschews the bombast and fury we’ve come to expect from its leading man, Dhanush, and instead offers something far more potent: a profoundly moving and exquisitely observed portrait of ordinary life.

In an era saturated with universe-building, CGI-laden spectacles, a film like Thiruchitrambalam feels like a radical act. It is a testament to the quiet power of storytelling, a film that finds its drama not in earth-shattering explosions but in the unspoken tensions across a dinner table, the shared laughter on a cramped terrace, and the painful-yet-healing journey of a broken family learning to piece itself back together. As the founder of CharotarDaily, I’ve waded through countless films that scream for attention. This one whispers, and in its whisper, I found one of the most resonant cinematic experiences of the last few years.

The Direction: The Genius of Restraint

Director Mithran R. Jawahar, who previously collaborated with Dhanush on remakes like Yaaradi Nee Mohini and Kutty, finally steps into his own with this original screenplay. His greatest achievement here is his unwavering directorial restraint. The film breathes. Jawahar understands that the most powerful emotions don't need a soaring orchestra or a flurry of quick cuts to be felt. He trusts his actors, his script, and his audience.

Consider the pivotal scene where Thiruchitrambalam, or "Pazham" as he’s affectionately called, finally confronts his father, Neelakandan (a brilliant Prakash Raj), about the long-held resentment stemming from a past family tragedy. A lesser director would have milked this for melodrama. We would have had dramatic zooms, a thunderous score, and overwrought dialogue. Jawahar does the opposite. The camera remains largely static, an unobtrusive observer in their small, middle-class apartment. The lighting is natural, almost flat. The focus is purely on Dhanush’s face, crumbling under the weight of years of suppressed grief, and Prakash Raj’s, his one functional eye conveying a universe of regret that his stroke-affected speech cannot. It’s a masterclass in letting a scene play out organically, allowing the raw, unvarnished performances to carry the emotional payload. This is not the work of a flashy filmmaker; this is the work of a mature storyteller.

The Screenplay: A Tapestry of Small, Perfect Moments

The soul of Thiruchitrambalam resides in its screenplay. It is a narrative built not on a complex plot, but on a series of beautifully rendered vignettes that, woven together, create a rich tapestry of character and relationship. The central conflict isn't about saving the world; it’s about Pazham learning to forgive his father, to open himself up to love, and to find his place as a man in a world that feels oversized and intimidating.

The screenplay’s brilliance is in its authenticity. The dialogue crackles with the effortless wit of real conversation. The banter between Pazham and his grandfather (the legendary director Bharathiraja, in a performance of pure heart) is a constant source of joy. It’s not a series of punchlines; it’s the loving, teasing rapport that exists in countless families.

But where the script truly soars is in its depiction of the film's central relationship: the platonic-turned-romantic bond between Pazham and his childhood best friend, Shobana (Nithya Menen). The film meticulously builds their foundation. We see it in the way she scolds him, the way she buys him a beer on the terrace after a bad day, the way her entire body language screams a love that his self-absorbed eyes cannot see. The scene where he, oblivious, discusses his infatuation with another woman while Shobana quietly absorbs the pain is heartbreaking in its subtlety. There is no dramatic confession or tearful breakdown. There is only Nithya Menen’s face, a canvas of quiet devastation, as she forces a smile and offers him advice. It is one of the most realistic portrayals of being "friend-zoned" ever put to screen, because it prioritizes her dignity and quiet strength over his cluelessness.

The Performances: An Ensemble of Flawless Chemistry

A script this nuanced requires actors who can navigate its subtle emotional terrain, and the cast of Thiruchitrambalam is nothing short of perfect.

Dhanush as Thiruchitrambalam (Pazham): After a string of powerful, righteous-anger-fueled roles in films like Asuran and Karnan, where he played a symbol of rebellion, it is a revelation to see Dhanush return to the "boy next door" persona that first endeared him to audiences. But this is not the cocksure youngster of Velaiilla Pattadhari (VIP). This is a more fragile, wounded, and deeply relatable version. Pazham is a man-child, stunted by trauma, navigating life with a blend of sardonic humor and deep-seated insecurity. Dhanush inhabits him completely. Watch his body language during his awkward dates; the fidgeting, the unsure smiles, the desperate attempts to be someone he’s not. It’s a performance devoid of vanity. He allows Pazham to be flawed, sometimes pathetic, but always human. This isn't Dhanush the superstar; this is Dhanush the actor, reminding us why he is one of the finest of his generation.

Nithya Menen as Shobana: If Dhanush is the film's anchor, Nithya Menen is its soul. This is, without hyperbole, a career-defining performance. Shobana is not a manic pixie dream girl; she is the moral and emotional compass of the entire film. Menen imbues her with a fierce intelligence, a bottomless well of empathy, and an unshakeable sense of self-worth. Her performance is a masterclass in minimalism. So much is conveyed through her expressive eyes and the subtle shifts in her smile. The aforementioned terrace scenes are hers to command. She communicates years of unspoken affection and quiet frustration with a single glance. In a just world, this performance would be studied for its grace, power, and profound authenticity. She is not just Pazham's "best friend"; she is his better half, long before he ever realizes it.

Supporting them are two titans. Prakash Raj, as the stern, emotionally distant father, delivers a physically and emotionally demanding performance, conveying a father's love and regret through the fog of a debilitating stroke. And Bharathiraja is the film's warm, beating heart, his grandfatherly wisdom and comic timing providing both levity and profound emotional depth. The chemistry between these four actors is the film’s bedrock; we believe in this flawed, funny, loving family because they so clearly believe in each other.

Cinematography and Music: Crafting a World of Warmth

Om Prakash’s cinematography perfectly complements the film's intimate tone. The camera rarely calls attention to itself. Instead, it uses a warm, often golden-hued palette to create a sense of comfort and nostalgia. The claustrophobia of the family’s apartment is palpable, making the open-air terrace feel like a true sanctuary—a space for secrets, confessions, and dreams. The visuals serve the story, wrapping the audience in the gentle, everyday beauty of Pazham’s world.

And then there is the music. Anirudh Ravichander, often known for his high-energy, chart-busting anthems, delivers one of his most mature and emotionally intelligent scores. The soundtrack is a character in itself. "Megham Karukatha" is an explosion of pure joy, a musical embodiment of that feeling when you finally allow yourself to be happy. But it’s the background score that truly elevates the film. Anirudh knows when to be silent, and when to introduce a gentle melody to underscore an emotional beat without overwhelming it. The music complements the mood, never dictates it.

Final Verdict

Thiruchitrambalam is a triumph of subtlety over spectacle. It is a gentle, life-affirming film that reminds us that the most extraordinary stories can be found in the most ordinary of lives. It's a film about the messiness of family, the comfort of friendship, the pain of grief, and the terrifying, wonderful leap of faith that is love. Bolstered by a career-best performance from Nithya Menen and a beautifully understated turn from Dhanush, director Mithran R. Jawahar has crafted a modern classic of the slice-of-life genre. It doesn't shout its importance from the rooftops; it earns your affection and admiration, one perfectly observed moment at a time. It’s not just a good film; it’s a necessary one.

CharotarDaily.com Rating: 4.5 / 5 Stars