Aavesham Review: A Fun Gangster Ride with Fahadh Faasil

During the promotion of the film “Aavesham,” Jithu Madhavan, the director, mentioned that they somewhat unearthed the character of Ranga during the filmmaking process. This observation arises from the second half of “Aavesham,” where one can detect a slight indecisiveness on the part of the creators regarding the direction to take. While the first half intriguingly establishes the movie’s premise, the second half’s dilemma between crafting a structured narrative or delving deeper into Ranga’s character results in “Aavesham” being an enjoyable yet ambiguous film, lacking the narrative tightness.

The film essentially revolves around three young men who venture to Bangalore for their engineering studies. They suffer a brutal beating from their seniors, prompting a desire for revenge. The trio decides to seek support from local toughs, leading them to the enigmatic Bangalore gangster, Ranga. The evolution of the friendship between these three and Ranga forms the crux of “Aavesham.”

SPOILERS AHEAD! The first half follows a straightforward narrative, with Jithu Madhavan showcasing his trademark blend of humor, quirkiness, and subtlety to vividly establish each character. Ranga, portrayed as a quirky gangster with unconventional fighting tactics, is particularly engaging. His unique approach to combat invites viewers to imagine their own tales. Consequently, the second half becomes a cerebral game between the director and the audience, testing who can correctly decipher Ranga’s true nature. However, the film struggles to maintain focus, with the conflict of the boys wanting to distance themselves from Ranga getting diluted amidst elaborate subplots.

I wouldn’t categorize “Romancham” and “Aavesham” as entirely distinct entities. The treatment and humor in “Aavesham” share a similar essence. The key disparity lies in Jithu Madhavan’s amplified emphasis on entertainment. While this amplification adds a festive vibrancy to the first half, the heightened scale in the latter part somewhat drags the film. Moments such as the birthday celebration song, dumb charades, and Ranga’s return offer plenty of uproarious instances within their sequences. Yet, the film lingers excessively on these comedic elements when viewed holistically. Sameer Thahir’s visuals enhance the story’s eccentricities, lending it a funky appeal, while Sushin Shyam’s lively scores perfectly complement the film’s mood. The fight choreography also stands out for its slick execution.

This portrayal marks a departure from Fahadh Faasil’s usual roles in Malayalam cinema, making Ranga and his idiosyncrasies a delightful on-screen presence. Even during the second half’s struggles to find a cohesive conclusion, Ranga’s outbursts and emotional turmoil keep viewers engrossed, with performances overshadowing the screenplay’s shortcomings. The trio of new faces—Hipzter, Mithun Jai Shankar, and Roshan Shanavas—excel in their respective roles, especially in conveying subtle humor through nuanced gestures. Sajin Gopu delivers a standout performance as Ranga’s eccentric right-hand man, earning applause in several stunt sequences that rivaled Fahadh Faasil’s moments. Special mention goes to Neeraja Rajendran for her portrayal of a naive mother of one of the boys.

“Aavesham” is far from a lackluster affair. From its opening scene to the closing credits, Jithu Madhavan maintains a high energy level throughout. However, the film’s quest to sustain entertainment and liveliness leads it to chase after set pieces and sequences that fail to drive the narrative towards a compelling climax or an exciting conflict. If witnessing Fahadh Faasil’s charismatic performance is sufficient to entertain you, then “Aavesham” is unlikely to disappoint.

Forget Bollywood, Malayalam movies are on a tear! Looks like the Mollywood dream run continues with yet another entertaining.