LUCIFER Review: Subpar execution nullifies top-notch performances in this pretentious film

Looking at the reviews where the fans and certain critics are gushing about the return of the ‘Vintage’ Mohanlal in Prithviraj Sukumaran’s debut directorial reminded me of one other film that hit the screens earlier this year: Petta.

While I could understand the orgasmic nature of responses to the Rajinikanth-starrer, especially due to the typical Rajinisms missing in his films since 2007, I couldn’t just buy the whole “Vintage” Mohanlal argument.

But again, what is Vintage Mohanlal? Is it the magnetic Poovalli Indruchudan from Narasimham or is it the ‘system and fate failed me’ Sethumadhavan from Kireedam? Is it the singing sensations Abdullah and Gopinathan from His Highness Abdullah and Bharatham or the extremely hilarious Joji or Sivaraman from Kilukkam and Kaakakuyil? He even has done outlandish fantasy films like Guru and the recent Odiyan. If it is slow-motion stunts, spouting macho dialogues at the camera with unparalleled swag, then you don’t even have to go that far as to a Ravanaprabhu or a Sagar Alias Jacky Reloaded, you just had Pulimurugan.

Basically, here is someone who has tried very hard to not be boxed into any particular category.

While the story isn’t fresh by any standards, it is sad that the film never quite takes off even with the presence of powerhouse performers like Manju Warrier, Sai Kumar, Vivek Oberoi, and Tovino Thomas.

The hype was unreal. The posters were intriguing, the teaser was exciting, and we had no choice but to get thrust into the world of Mohanlal’s Stephen Nedumpally. Even though his ominous presence looms large in every second scene, there are long stretches where Stephen isn’t just present on screen, and when he finally makes a comeback, it is to walk in slo-mo and deliver a punchline that doesn’t match the stature of someone like Lalettan whose monologues have a separate fan following. Of course, there are two mundu-kuthi fight sequences that got my throat hoarse with the incessant cheering. Of course, there are that glowering stares that remind you of the kind of evil characters he can play, and should have played more in his illustrious career. Of course, there are emotional scenes that tug your heartstrings, but all these are too short-lived.

Lucifer begins with the death of Kerala CM PK Ramdas, and is about how Stephen saves Ramdas’ children from the clutches of the snakes, who are slithering close by in the name of family and friends. The ‘to-be-saved’ family consists of Ramdas’ daughter Priyadarshini Ramdas (A brilliant Manju), her daughter Jhanvi (Saniya Iyappan), and Priya’s brother Jathin Ramdas (a show-stealing Tovino Thomas). There is Ramdas’ son-in-law Bobby (Vivek Oberoi with a performance and lipsyncing that will make you forget that he will be seen in PM Narendra Modi next week) as the primary antagonist, who is evil enough to warrant a role in a film titled Lucifer, but needed to be more powerful for the eventual vanquishing to feel like divine retribution.

Not all’s grim about Lucifer. There are two standout scenes in the film — the confrontation scene between Manju and Vivek, where both actors take turns to steal the show from each other, and Tovino pulling off an amazingly written scene where he establishes his political credentials in front of an audience that are skeptical about the unknown entity in Kerala politics. And surprisingly, both these scenes doesn’t feature Lalettan. But do watch out for that scene where actor John Vijay as Mayil Vahanam, slaps Stephen. That stare, that music, that hint of a smile that never reaches the eyes. Lalettan owns that scene, and also the sequence where he talks about PK Ramdas to director Fazil, who plays Father Nedumpally. There is a tinge of sadness that is betrayed, and a twang of hope that is left burning, It is in these simpler scenes that we see Mohanlal doing what he does best: Make us believe that in the make-believe world of cinema, there are very few actors who can do what he does.

However, Murali’s screenplay has never relied on simplicity (yes, I am looking at you, Tiyaan), and while it may have worked in landmark films like Left Right Left or Ee Adutha Kaalathu, it doesn’t quite hit the mark with Lucifer.

While I do commend Prithviraj’s decision to showcase Lalettan at his finest, and tell a story that is an amalgamation of both mass and class, the plan is only as worthy as its execution. I understand that this film is more of a celebration of Lalettan – The Superstar, but it gets increasingly difficult to look past the garishly out of place song and dance routine in the climax, or Prithviraj’s stone-faced appearances that come out of nowhere but disappoints you nonetheless, or Antony Perumbavoor pulling off a Stan Lee in every Mohanlal film (credits to my colleague for making this hilarious analogy) or sequences that are too heavy for a film, which is essentially a Rajamanikyam with an overdose of seriousness that pulls down the narration, and the film along with it.

I know there are scores of Lalettan fans who are tripping on how the technical team and Prithviraj have showcased their beloved star in all his finery in Lucifer. But as I said before, for someone who has tried very hard to not be boxed into any particular category, the team of Prithviraj-Murali Gopy-Lalettan fans have done just that to limit ‘The Complete Actor’.

So yeah, let me make it clear, I am neither a Lalettan hater nor a Prithvi skeptic (I am someone who completely stands by his film, 9), and I understand that it is raking in the moolah, and has a majority of fans fawning over the film. However, I can’t help but say this with a resigned tone of finality and utter disappointment — Lucifer is one pretentious clusterfuck of a film.