Madhuvidhu TamilYogi Review: Directed by Vishnu Aravind and anchored by the light and carefree presence of Sharaf U Dheen, Madhuvidhu is heavy on its characters, performances, and a soundtrack that is quiet but effective with Hesham Abdul Wahab. Paperwise, it is a warm, understated family drama. The movie, nevertheless, takes its time to reach there.
The initial parts are strangely distant. The characters, particularly, that of Kalyani Panicker, have a hard time registering, and it is hard to establish an emotional connection with them. However, as the story relaxes, these same components start to play in its favour. The comedy becomes kinder, the feelings are more successful and the acting, especially that of Jagadish, is warmly appealing and invites you to sit.
I did not like the first half, particularly the beginning stretch. I was spectating, and could not engage with the characters or their circumstances. Even pointless scenes, such as the introduction of Kalyani Panicker, were two-dimensional. It can be seen that there is a disconnect in the conception of her role. It picks up pace once the film passes through this hesitant stage. The writing becomes open, the characters become more alive and the story takes on a more confident pace, which provides moments that can softly appeal, and at times connect.
Jai Vishnu and Bibin Mohan as screenwriters, in the direction of Vishnu Aravind, have depended on performances and that turns out to be the greatest strength of the screenplay. A number of scenes would only have impact with the handing of the actors. Minor details, breaks and suppressed responses add a new dimension to otherwise mundane scenes.
Sharaf U Dheen adds his usual restraint to the portrayal, not overdone, and using as little expression as possible to balance both humour and vulnerability. Such a low-key style works wonders and becomes one of the anchors in the film. Jagadish is reliable once again. His acting is silent but effective, making a notable impression, even in those scenes that could have been easily forgotten.
Aziz Nedumangad gives his own spice to the humour, which comes in a set-up that is near to a double role. The casting is especially effective because of his presence that enriches several scenes. Sreejaya makes a comeback after some time and performs calmly, natural, and she stands her ground with other new faces.
The character of T. Suresh Babu, is one of the most memorable ones. His steady and rational presence is a stabilizer to the family situation. He is like that human element that every family needs, someone who pays attention, knows and speaks well where necessary. Amal Jose, the younger brother of Sharaf U Dheen, begins on the verge of being over the top but calms down to a more relaxed and better performance.
Kalyani Panicker creates a believable impression as a whole, and she is a perfect fit to the role of a young woman who faces emotional issues. With that said, the characterisation is unbalanced here and there. The introduction of her and the way she responds to some of the situations do not match, especially when it comes to the scenes with Saikumar. Although the performances are good, the writing is sometimes weak. Subsequent passages do serve to smooth out this irregularity. A particular highlight is when her character wonders why the will of others is to be in the majority, and whether the desires of her own self should not count. It is a plain yet stinging line that has an emotional impact.
The movie also tries to shun the typical approach of a woman joining a male dominated home. It attempts to empathize with her point of view and logic, rather than portraying her as a disruptive element. There is also a fascinating subplot of a young lady who makes her expectations of marriage very clear. The story develops these concepts without being too serious.
Technically, overall, the music by Hesham Abdul Wahab is good. The initial song is predictable in terms of its structure and positioning, whereas the subsequent songs are more coherent to the story. The background score is especially efficient, it does not overwhelm the emotional beats.
Cinematographer Viswajith Odukkathil maintains the visuals to be simple and attractive. The movements between spaces are managed well, which introduces a visual flow to the narration. Christy Sebastian, being an editor, makes sure that there is a consistent flow, as soon as the film gets out of its slow start.
The comedy is subdued all the way through. It does not come out loud, but rather depends on situational humor that will slightly bring a smile. To a large extent this is due to the timing and restraint used by the actors. The movie does not resort to vulgarity and over-drama but concentrates on daily disputes and gentle satire and can be viewed by the entire family as a light experience.
That notwithstanding, the movie does not lack flaws. Its greatest weakness is the slow and uninspired opening stretch. To a large number, there is not much to cling on to emotionally. Also, one of the instances that concerns the characters of Kalyani Panicker and Saikumar seems to be unconvincing, and it would be rather presumptuous to comment on it and divulge too much.
The film leaves a feeling of warmth by the last act. It is not the same but manages to establish a light, feel good mood. I came out in a relaxed and slightly satisfied mood, which is what the movie is aimed at accomplishing.
Madhuvidhu ends up being a small, performance based family entertainer which grows on you regardless of its wavy start. It has sufficient heart, humour and relatability to ensure the journey is worth the time, although it may take its time to get there.
Rating: 3/5
