Pallichattambi Movie Review:
When the makers of Pallichattambi announced postponing the film's release by a week, citing a delay in obtaining the censor certificate due to the election code of conduct, it came as a surprise to many. However, after seeing the film, it all makes sense because the story is set during the Vimochana Samaram (Liberation Struggle), a volatile episode in Kerala's politics, the echoes of which still reverberate loudly in political circles.
Using this potent but largely unexplored backdrop, writer S Suresh Babu builds a fictionalised narrative around a local hero’s uprising and his attempt to mobilise a village to fight for their land. Interestingly, Tovino’s previous outing as a lead actor, Narivetta, was also rooted in a dark chapter from the state’s history — the Muthanga agitation — where the oppressed similarly fought for land rights. However, unlike in Narivetta, where he struggled to fully embody the emotional arc of an awakening cop, Tovino appears far more comfortable here.
His broad, well-built physique and agility in action sequences do much of the heavy lifting in making him believable as the ‘chattambi’, a revered figure anointed by the Church to counter the communist movement. But beneath the towering figure is a bruised soul carrying wounds of a troubled childhood, and Tovino effectively channels this emotional undercurrent. Rebecca, played by Kayadu Lohar, serves as a brief but calming presence in his life. Their relationship shows promise, but is unfortunately underdeveloped due to the film’s sprawling ambitions.
Director: Dijo Jose Antony
Cast: Tovino Thomas, Kayadu Lohar, Vijayaraghavan
Pallichattambi is anything but small in scale. Director Dijo Jose Antony mounts the film on a grand canvas, introducing fictional regions like Kaaniyar, Kunnumpuram, and Thariyottumala. Even if you miss the opening title cards, which are supposed to give an idea of the geography, no worries, because the characters keep talking about this landscape. This is a recurring issue with Dijo's films. There's a lot of talking, or say, excessive exposition. We already saw that in Queen (Salim Kumar's cameo in the climax) and Jana Gana Mana (almost the entire second half ft. Prithviraj Sukumaran).
Dijo’s narratives often lean heavily on dialogue, and Pallichattambi continues that pattern. Characters frequently deliver long-winded monologues. First, we have Vijayaraghavan as a local priest who goes on endlessly about the threat of communism and how the movement signals the end of the Church. Then there's Siddique delivering lengthy monologues, patiently describing the meticulous conspiracy behind the Vimochana Samaram, the players involved, their motives, and the overall plan of action. Such simplified, spoon-fed writing robs the audience of the joy of finding such a dense film on their own. Imagine going to a restaurant and ordering their signature dish only for the chef to eat it for you and explain not only the ingredients and method of cooking, but also how each bite feels.
The bigger problem here is that the film also bites off more than it can chew. It attempts to juggle too many elements but fails to flesh them out adequately. The antagonist, introduced with intrigue, remains frustratingly underdeveloped. Instead of offering depth, the film relies on superficial gimmicks and the superstar actor’s aura to create impact, ultimately leaving the character hollow. Or is it left for a sequel that this story doesn’t really demand?
At a time when cinema is increasingly scrutinised for political messaging, Pallichattambi seems overly cautious about taking a firm stance. Yet, moments like the ‘Puthupally leader’ scene feel deliberately inserted, possibly to balance perceptions that it’s a pro-Left film. Despite this, the film upholds progressive ideals, particularly its call to break caste and community barriers in collective resistance. This culminates in an almost Avatar-like climax in which villagers unite against a heavily armed force. While visually ambitious, with stylised camerawork and extensive CG, it feels like the emphasis on spectacle dilutes the emotional core of the story.
Pallichattambi had all the ingredients to be a standout entry in Tovino’s filmography. With a sharper focus, more layered storytelling, and restraint in its scale-driven approach, it could have been a more compelling socio-political drama. Instead, it remains a film of unrealised potential, weighed down by its own ambitions.