Devadath Shaji’s Malayalam film, Dheeran, presents a complex viewing experience, riddled with imperfections. The film features a multitude of characters, each seemingly intended to contribute, yet ultimately failing to leave a lasting impact. The sheer number of eccentric individuals, while possibly beloved by the screenwriter, overwhelms the audience, preventing any meaningful connection.
Unfortunately, the film struggles to allow viewers to truly know any of the characters. The storytelling rapidly cycles through their quirks and eccentricities, offering only superficial portrayals. A character’s wife elopes, and when he later encounters her and her new partner, he displays a surprising degree of sensitivity. Amidst the chaos, there are moments that hint at deeper exploration.
The characters, encompassing both progressive and regressive viewpoints, never coalesce into a cohesive whole. They remain scattered, serving neither to enhance nor detract from the central plot.
At the core of this unconventional narrative is Eldhose (Rajesh Madhavan), a slender man known for his comedic roles. Here, Madhavan’s character is thrust into perilous situations that, while potentially humorous, veer into the realm of horror. A particularly disturbing scene involves a man being forced into a drum and burned alive, negating any potential for laughter.
The film addresses the migrant issue with stark directness when Eldhose flees his village in Kerala for Tamil Nadu, where he works for a gangster who moonlights as a perfume seller (Vineeth). This intriguing juxtaposition could have provided fertile ground for satire, but the writer-director refrains from fully embracing this opportunity.
The film’s tone shifts uncertainly between starkness and satire, never finding a comfortable balance in either. It seems unsure of its direction, leaving the audience uncertain of its purpose. When news of Eldhose’s supposed death in Tamil Nadu reaches his village, a group of villagers embarks on a journey to retrieve his body, transforming the narrative into a road film.
However, this is not a straightforward road movie. It’s not a dark comedy about elopement, death, and resurrection. The film is, in part, a flashback sequence concerning a violent gangster who clashes with Eldhose and his friend. This portion of the plot is the weakest, marked by abrupt transitions. The attempt to merge a road movie with a gangster narrative results in excessive, clumsy, and disjointed violence, failing to create a cohesive experience.
Dheeran reveals itself to be a potentially engaging crime drama, though it suffers from a cluttered plot.
