For the benefit of his community, wealthy trader and warrior Velayudha Chekavar (Siju Wilson) takes up the cause of social reform in the middle of the 19th century. He campaigns against untouchability, the right of people to practice their religion, and the right of women to cover their breasts, among other things. Naturally, the upper caste members of the royal darbar and other influential individuals are not pleased with Chekavar’s struggle and the fact that he frequently had the favor of the Travancore king.
Performance
Siju Wilson is a compelling option for the role of Panicker because he possesses the physique, facial features, and gaze of a brave fighter. Siju excels on screen as the lost Renaissance hero Aratupuzha Velayudha Panicker. All audiences will find action scenes to their liking.
Performance
In a movie with a vast ensemble cast, Kayadu gets lucky and gets the biggest role, and she offers a lively performance. This is indeed her tale. Her storyline features turning points, a mentor character, and a separate subplot that shows how patriarchy operated within the oppressor caste’s social circles. She is Nangeli, the woman who allegedly had her breasts amputated in protest after objecting to the breast tax levied against women of lower castes who covered their upper bodies.
Performance
Despite Chemban Vinod Jose’s energetic portrayal of Kayamkulam Kochunni, his participation in this story ends up seeming like an almost minor addition. His character is diminished to the status of a plot gadget and has no emotional significance to the narrative. Unfortunately, Deepti Sati, Poonam Bajwa, Anoop Menon, Sudev Nair etc., are under-utilized.
Direction / Technical Side
Using both visuals and a concise narrative, director Vinayan was able to effectively convey the story. It’s also important to note the screenplay by director Vinayan. Vinayan’s film expands on all the social improvements that Chekavar actively advocated for.
Direction / Technical Side
There are numerous expertly choreographed, high-stakes action scenes in Pathonpathaam Noottandu. Kicks, jumps, sword fights, and more are featured, along with the ideal number of slow-motion views. Both Shravan Satya and Shaji Kumar deserve credit for the action blocks and for the visual extravaganza that is depicted onscreen.
Direction / Technical Side
The problem here, though, is that the protagonist’s emotions, which come before his actions, are not well defined. Instead of enhancing his physical punches with aesthetic slow-motion, it is easier to convey who he is as a person.
Direction / Technical Side
If you look at the majority of the large commercial movies that have been successful at the box office, mass ascent scenes are the norm. The problem is that the people Siju is up against don’t always complement what he brings to the table. The editing could have used a bit more precision. Some of the songs seemed a little unnecessary.