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Malik Reviews

“Malik” is a great movie, with Narayanan having implemented the “lessons” he took from Anurag Kashyap, Francis Ford Copolla and Lijo Jose Pellissery, in the best fashion

Full Review | Original Score: 7.5/10 | Jul 24, 2022

MALIK is epic gangster cinema made with the Malayalam touch. Fantastic performances, especially from Fahadh Faasil, and technically top-notch in all areas. Unfortunately, it cant quite keep up the power and intensity of the first half.

Full Review | Original Score: 7/10 | Apr 8, 2022

It's remarkable just how director Mahesh Narayanan controls the scope of the movie, keeping it grounded in its very specific situations.

Full Review | Original Score: 3.5/5 | Aug 20, 2021

For all its exertions, Malik's insights into the true nature of crime are ordinary, and are especially more unconvincing because they are delivered with utmost seriousness and an exaggerated sense of urgency.

Full Review | Jul 21, 2021

The film, helped along by lead actor Fahadh Faasil operating within an uncharacteristically limited yet effective bandwidth, hits its straps.

Full Review | Original Score: 3/5 | Jul 21, 2021

Malik, with its intricate even if occasionally faltering account of community relations and top-notch acting, is an excellent addition to Mahesh Narayanan's filmography.

Full Review | Original Score: 4/5 | Jul 21, 2021

Fahadh Faasil's sprawling epic bites off more than it can chew, but leaves you to mull over some important ideas.

The film is a bit long and has some confusing bits, but on the positive side, Malik reflects important issues of our times in a compelling manner.

Fahadh Faasil combines delicate melancholy with majesty and becomes, in every way, a malik...

Even minor characters have a way of coming back later on to show us their impact and place. And that's how a film with so much vastness in both scale and subject manages to affect us so emotionally.

Malik Movie Review: Stirring, immaculately staged epic

Rating: ( 4 / 5).

There is a lot of information to process in Malik . In some instances, we are shown things just for a brief period — enough to give us an idea of what's happening — without needlessly stretching it. This is, after all, the creation of a master editor who is known to make editing decisions in the writing stage itself. And for a film that runs close to three hours, director Mahesh Narayanan employs crisp editing to keep things running smoothly. The film moves as fast as any of Christopher Nolan's big epics. Every frame in Malik pulsates with nervous energy, even in its tranquil moments. We get a tangible sense of the turbulent history of its real-life inspirations, be it the characters or setting. It's impossible to predict the timing of the jolts. An undercurrent of menace pervades the entire film.

Director: Mahesh Narayanan

Cast: Fahadh Faasil, Nimisha Sajayan, Vinay Forrt, Joju George

Streaming on: Amazon Prime Video

Mahesh and cinematographer Sanu John Varghese (who recently made his directorial debut with the graceful satire, Aarkkariyam ) establish the tone right from the skillfully executed single-take opening sequence at Sulaiman Malik's (Fahadh Faasil) mansion and maintain the tumultuous mood through the splendidly cross-cut violence in its closing moments. There is a great sense of urgency established in these segments through meticulous staging that makes the distance between each character seem shorter, even though they are mentally apart.

A meeting is about to take place as the film opens. Family members and outsiders throng the place. It's evocative of the wedding sequence in The Godfather , where Marlon Brando is listening to the troubles of each well-wisher. But Sulaiman is not in the midst of a wedding. He is about to go on a pilgrimage. It's a special occasion, but one that's rife with peril. Much like Vito Corleone, Sulaiman appears soft and vulnerable on the surface, but his words carry much power. The meeting doesn't end well. There is an air of disquiet.

The first twenty minutes establish Sulaiman as someone both powerful and vulnerable. Someone describes him as a dangerous threat. He is wanted not only by law enforcement officials (multiple acts, including TADA, are mentioned) but also by those looking to eliminate him for the "greater good". What made him such a despicable figure in the eyes of many? Mahesh uses the rest of the film's runtime to unravel the truths. For this, he brings in yesteryear Malayalam star, Jalaja (of KG George's Yavanika -fame), to essay Sulaiman's mother. His reaction upon being told about her arrival at a particular place, I won't say where, makes one say that iconic Star Wars line, "I sense a great disturbance in the force." If I have to use a reference from Malayalam cinema to convey the mood of this situation, it would be the fractured father-son films starring Mohanlal and Thilakan. You know, the ones where the parent wishes they hadn't spawned such a child?

Interestingly, Mahesh doesn't rely solely on the mother to recount the economically narrated flashbacks. He also uses the perspective of another pivotal character, which I found to be quite refreshing. It's better than lingering on just one voice. There is an image that Sulaiman has of himself, and there is everyone else's image of him. Some believe he did some terrible things, while others don't. Allies, potential allies, and foes flank him. It's impossible to tell who is going to turn and when. Malik is an influential figure who has done so much for his people, but who are his true allies? Will they show up on time? The chaos makes him look like a sheep amongst wolves.

The flashbacks begin as a Godfather II -style gangster drama replete with smuggling, betrayal, and a brutal act of violence. That last event sets off a chain of distasteful events amidst two hitherto harmonious communities - Muslim and Christian - with far-reaching consequences. Yes, the names of the places are fictional, but there is no mistaking the real-world parallels, such as the infamous Beemapally police firing incident. At one point, Angamaly Diaries actor Appani Sarath makes a brief but notable appearance as a character named after an accused from the original case files. But Malik isn't woven around a single incident. One could also draw parallels to everything that has been happening in Lakshadweep lately. Malik is a film seething with rage, much of it directed at anyone taking advantage of the weakness in members of both communities to turn friends and brothers against each other. Even a natural disaster is included in a mudslinging exercise by an unsavoury character.

One of the strongest principal characters in the film is David (Vinay Forrt), who broke ties with Sulaiman long ago. You could say he is the 'David' to Sulaiman's 'Goliath'. His naivete and unpredictability brought to mind some memorable characters from Priyadarshan's early gangster movies in Malayalam. (Speaking of, the overall time-hopping structure of Malik and age transitions are also reminiscent of the maverick filmmaker's 1991 film, Advaitham , which also revolved around communal tension.) David is easily Vinay's most memorable character since that Sub-Inspector he essayed in Kismath .

If I were to mention a minor shortcoming, it would be the half-convincing old age portions. Yes, Fahadh and Nimisha convey the maturity of their characters beautifully, but there were also moments where they looked like thirty-year-olds dressed up as middle-aged folk for a costume party. Also, as much as I liked some of the character arcs in the film, I couldn't help but wonder whether all of their motivations were strong enough to warrant intense animosity towards Malik. Yes, he has done some terrible things, but there is the nagging feeling that the supporting characters are overreacting. Maybe that's the point. Can we see this film as a statement on unwarranted cancel culture? How everyone needs to think more than twice before making regrettable decisions that could backfire later? One of the film's most impressive aspects is a Vadakkan Veeragadha -style intergenerational conflict that makes you question, once the end credits begin, whether Malik was the real hero of the story or someone else. There is a brilliant redemption arc you don't see coming. The bittersweet ending carries much poignancy.

In terms of scale, Malik is the biggest Malayalam film since Lucifer . We don't get to see something of this magnitude enough in Malayalam cinema these days. We got a lot of them in the 80s and 90s, but rarely today. I've heard that some significant portions had the help of CGI. So far, I have only spotted one instance. Everything else looked stunningly seamless.

I don't think one review can fit everything I want to say about Malik right now. I'm sure I'll discover new things on repeat viewings. Yes, this is that kind of film.

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Malik movie review: Fahadh Faasil-starrer is a small-scale epic

Malik movie review: fahadh faasil film parlays its time and place and characters into a sprawling sparkler of a film, told with great fluidity, and backed by solid performances..

Malik movie cast: Fahadh Faasil, Nimisha Sajayan, Joju George, Dileesh Pothan Malik movie director: Mahesh Narayanan Malik movie rating: 3.5 stars

A small coastal town in Kerala. Rising corruption. Political games. Communal harmony pushed to the brink. A police force working under pressure. And one man standing up to save his family, and his people. ‘Malik’ parlays its time and place and characters into a sprawling sparkler of a film, told with great fluidity, and backed by solid performances.

It is a small-scale epic, which knows exactly what it wants to do without falling into the trap of going bigger than it is. It’s remarkable just how director Mahesh Narayanan controls the scope of the movie, keeping it grounded in its very specific situations, which feel as if they’ve been plucked from real life. Narayanan has been on record to say that he was inspired by the goings-on in the area he comes from (Kovalam), but is careful to call it a ‘work of fiction’ in the final credits.

The brilliantly structured opening sequence sets the tone for the rest of the film. Sulaiman Malik ( Fahadh Faasil ) is about to leave for Haj. It is a bustling household where a large number of people have gathered, and as the camera swoops from one spot to another, it opens up the many strands that will unravel in due course. Malik’s wife Rosalyn (Nimisha Sajayan) looks strained. His daughter demands time, which he doesn’t have. His associates throw a ring around him, and lead him out of the house. It is, clearly, a farewell, but a feeling of tension and unease pervades the air. As he is about to board his plane, something happens, and the full story of Ali Ikka, aka Malik is upon us.

At the heart of this 2 hour 40 minute saga is a winsome love story. Malik and Rosalyn make the kind of couple you instantly know will cleave to each other even in the face of the deepest adversities. Their coming together is stormy. Their life continues to be turbulent, with Malik’s propensity to demand justice when he sees unfairness leading him and his friends into trouble. Muslims and Christians living in close proximity, dipping together into the bountiful ocean for a livelihood, is a coastal reality. Soon, cracks begin to develop, and old friendships and close family ties turn into deep animosities.

Naryanan and Faasil play well together. We’ve seen this in ‘Take Off’, and the made-during-the-pandemic ‘C U Soon’. Faasil grows from rebellious boy to headstrong youth to a greying middle-aged man with ease, and except for the stray scene where you can see him acting out, he just disappears into Malik.

Surrounding him are actors who look as if they’ve risen from the soil. As Malik’s closest friend, Forrt is wonderful, as is George as the IAS officer who empathises with Malik, aware of his dodgy, illegal activities and yet knowing that there is a line he will never cross: smuggling ‘foreign’ cigarettes and perfume is fine, but arms coming from the Middle East are a strict no-no. Pothan as the politician who wants to keep all sides happy, is just right. And Sajayan, whom we last saw in ‘The Great Indian Kitchen’ more than holds her own with Faasil; it’s a pleasure watching them together.

Only in a few places do you feel the narrative, drawing an arc from the 60s to the present, stretching. In a crucial flashback sequence, which involves a tragic loss for Malik, there’s a very slight tonal shift from a man battling circumstance to a hero, striding into the bullets raining around him. But these are teeny things, only visible because the rest of it is such a composite piece. ‘Malik’ keeps you with it, from beginning to end.

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Malik movie review: Fahadh Faasil is fabulous in Amazon's overambitious but outstanding crime saga

Malik movie review: fahadh faasil's sprawling epic, acquired by amazon prime, bites off more than it can chew, but leaves you to mull over some important ideas..

Malik opens with a flashy oner that perfectly captures the adventurous spirit of contemporary Malayalam cinema . But technically speaking, it opens with a paranoid disclaimer that captures the mood of the nation. Directed by Mahesh Narayanan and starring his muse, Fahadh Faasil , Malik walks a thin line, thematically. Props to Amazon Prime Video for picking it up.

Malik movie review: Fahadh Faasil reunites with his Take Off and CU Soon director Mahesh Narayanan.

At over two-and-a-half hours long, Malik is a suitably epic crime saga; its reach often exceeds its grasp. It spans the lifetime of one man, Sulaiman Ali, the revolutionary leader of a coastal village in Kerala who in the opening moments of the film is arrested by the authorities at the airport. Fearing his increasing influence in the region's politics, local leaders scheme to have him assassinated in captivity. But Ali Ikka, as he is affectionately known by his followers, is convinced that no one in the community can harm him.

Watch the Malik trailer here:

What unfolds is an ambitious, but often rough-around-the-edges crime drama that shamelessly borrows from classics such as The Godfather and Gangs of Wasseypur. Mahesh Narayanan ’s script, however, doesn’t have the rugged poetry that we associate with Anurag Kashyap ’s films. This is a complex story, simply told, despite its episodic structure and sprawling cast of characters.

The ever-reliable Joju George, for instance, appears only after the hour-mark. He plays the Ramadhir Singh of this tale, essentially — an IAS officer named Anwar Ali who has his pudgy fingers in every pie within touching distance, and others waiting to be baked. Him and Ali Ikka go back a long way; in fact, the Malik — another of his monikers — seems so isolated as a human being that most of his relationships can be traced back to his youth. And Anwar knows that to enter his inner circle, he cannot rely on outside help.

After a first act that effectively sets up the premise, Malik launches into an extended flashback that lasts about an hour. We watch as a young Ali and his poor family move into a coastal village at the edge of a garbage dump — it is where Ali’s father will be eventually be buried, discarded like every other member of their community by the iron fist of majoritarianism.

The landscape is so large that Narayanan often struggles to maintain a grip on the material. But ambition such as this — both narrative and thematic — is what makes the New-Gen movement in Malayalam cinema so exciting. For instance, the full impact of an insult that a character lobs at Ali is felt an hour or so later, when we’ve slipped into the past and witnessed their relationship develop. Like Mystic River, Malik is essentially the story of three friends who wash up on different shores after knocking about together as common goons in their youth. While Ali and Aboobacker (Dileesh Pothan) are Muslims, their buddy David (Vinay Forrt) is a Christian. To make matters more complicated, Ali falls in love with David's sister Rosaline (played by Nimisha Sajayan, who has done more good work in 2021 than most actors can manage in entire careers).

Vinay Forrt and Fahadh Faasil in a still from Malik.

Narayanan is trying to make a rather grand statement about communal politics here, albeit in a straightforward manner. Crucially, he frames his ideas through a personal lens — in many ways, Malik is a character study about one man’s messiah-like rise to the top, and the almost Biblical betrayal that brings him down.

Working for the third time with Narayanan, who is better known as an editor, Fahadh Faasil is pure fire in the central role, which sounds like the understatement of the year, but there you have it. The actor — an indisputable national treasure — finds an emotional through-line that connects the more revolutionary-minded Ali of the 80s to the more sombre, Vito Corleone-style figure of the ‘present day’ portions, a man plagued with a deep melancholy. Like Nawazuddin Siddiqui, Faasil's commanding onscreen aura penetrates through his wiry frame.

Aided by a lush score by Sushin Shyam — one that shifts tones and genres in tandem with the film — Malik is a consistently surprising experience, despite its derivative origins. It’s a Chronicle of a Death Foretold, set in a contemporary India that might as well be medieval. But even I didn’t expect it to turn into True Detective season two in its final act, when it suddenly becomes obsessed with the intricacies of real-estate scams and the highway mafia.

Also read: Moothon movie review: Near-perfect Nivin Pauly-starrer is one of the best films of the year

Malik isn’t so much a dissection of the strongman concept than a mere representation of it. Had it not been for those pesky subtitles, the film could quite possibly have caused a bit of a stir. But fortunately for all of us, I don’t think the people who tend to cause this kind of trouble are particularly fond of reading. It’s a political drama that masquerades as a gangster picture. Identifying the difference between the two, as always, is up to you.

Director - Mahesh Narayanan

Cast - Fahadh Faasil, Dileesh Pothan, Joju George, Nimisha Sajayan, Vinay Forrt

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The author tweets @RohanNaahar

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Mahesh Narayanan
Joju George
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Malik Movie Review: Fahadh Faasil is simply brilliant in this Amazon Prime film

Fahadh faasil and nimisha sajayan-starrer malik narrates the tale of one man who wants to keep his community united against nature, the state and the corporates. directed by mahesh narayanan, malik released on amazon prime video on july 15..

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Malik Movie Review: Fahadh Faasil is simply brilliant in this Amazon Prime film

Set in the fictional fishing village of Ramadapally, Kerala, between 1965 and 2018, Malik tells the tale of a malik (master) Suleiman (Fahadh Faasil), who is the messiah for the fisherfolk of the village. The film begins with Suleiman AKA Ali Ikka in his 50s, set to take a pilgrimage to Hajj after renouncing illegal activities. He is leaving behind a life of crime that he has lead, but always with a strong moral centre. “I have quit all ungodly work, so who should I fear now? If someone above Him is waiting to kill me, let it happen,” he says, giving us a glimpse into his powerful yet flawed character. And also setting the pace for what’s in store for the audience.

At the airport departing for Hajj, Suleiman is arrested by the police under the Terrorist and Disruptive Activities (Prevention) Act (TADA). And as the story unfolds from there, we come to know of Suleiman's story. Slowly, each and every character comes into play. We meet Suleiman's mother (Jalaja), who takes us through Suleiman’s childhood and how he developed the town that is Ramadapally. Though she wants her son to be punished for his deeds, she wants the law to take its natural course.

Mahesh Narayanan’s storytelling shows Suleiman’s rise to power and how politicians use religious tensions and tactics to turn two communities against each other for their own benefit. To add more character to the story, Mahesh weaves in the 2002 Tsunami. The story then goes on to show how politicians use people, in their most vulnerable state, after losing their loved ones, to start a feud that soon escalates into riots between Muslim and Christian communities of Ramadapally and Edavathura..

Malik beautifully depicts the arcs of each character, be it Suleiman's wife, Rosalyn (Nimisha Sajayan), the sub-collector, Anwar Ali (Joju George) or Suleiman’s best friend, David Christudas (Vinay Forrt). Rosalyn is a powerful woman, who is the only woman in the village to have gone to college. Much more educated than her husband, Rosalyn has an arresting presence in every frame of the film. She is fierce and knows what she wants. A pillar of strength that stands by Suleiman through his rise, she doesn’t back down when it comes to telling her husband right from wrong. Be it putting political ally, PA Aboobacker (Dileesh Pothan) in his rightful place after the arrest of her husband or telling an uncooperative cop subtly what would unfold if her husband isn’t given enough security, she doesn’t mince her words at any point. The best scene has to be when Rosalyn makes the first move towards the man she loves. Nimisha Sajayan is a power-packed performer and an actress the film industry should look out for.

Anwar Ali plays an understated character, who in the beginning helps Suleiman in his quest for building a school named after his father, Ahammadalli Memorial School. Though they start at friendship, the two soon turn against each other after an unexpected turn of events. David Christudas’s grey character teaches us how a small seed of doubt by a third party can destroy childhood friendships. There is a beautiful scene when the two men are sitting on the shoreline and Suleiman points towards the statue of Jesus and how he is embracing the Muslim-dominated hamlet, Ramadapally, with open arms.

Suleiman might be a flawed character, but Fahadh plays it with such brilliance that the audience is rooting for the character till the very end. Suleiman is shown as an intelligent and well-intentioned man, who wants to do good for the people of Ramadapally. Whether it is building a school for the kids, cleaning the grounds near the mosque, which is being used as a garbage dump or shutting down a sand-mining project by the government that could endanger the lives of the fishermen living by the sea, he always puts the people of Ramadapally first. Though he has a skinny frame in the film, the manner in which he mouths his dialogues is sure to give the audience goosebumps. When he says, “If you can take me away from the people of Ramadapally, try and take me, sir,” especially stands out.

Cinematographer Sanu John Varghese and editor Mahesh Narayanan show the coastal belt and the life of fisherfolk beautifully. And we would have loved to see the film on the big screen. Sushin Shyam’s background score creates the right atmosphere. The song Theerame, which plays as the lead actors get married, will stay on your lips for some time.

Malik makes the audience really think, which doesn’t happen a lot with films these days. It makes you ponder over the political scenario in the country and question everything you think you knew. While the film can have different interpretations for different people, everyone can relate to Suleiman's character, who does what’s best for his people. Isn’t that what we all do when it comes to our family?

4 out of 5 stars for Malik.

ALSO READ | Jagame Thandhiram Review: Dhanush is a one-man army in new Netflix gangster thriller

ALSO READ | Sara’s Review: Anna Ben's stellar act lifts this simple Amazon Prime film Published By: Ramya Palisetty Published On: Jul 15, 2021 --- ENDS ---

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Malik movie review: Fahadh Faasil shines in this grey-zone thriller of religion and power

Malik has references to certain real events from the 2000s in coastal Kerala

It was on the back of stories and tales that humankind built its civilisations, religions, kingdoms and nation-states. Shared stories influence us, define us. And, the thumb rule is that every story has more than one version. It is, in fact, not a major task to find these different versions, if one intends to do it. But, we do not want that, because we are more than happy and content with the versions that would be apt for our prejudices and notions.

Mahesh Narayanan’s Malik is the story, or a collection of stories, of two coastal hamlets: Ramadapally and Edavathura. There are different versions for each of these stories. Friendship, pain, vengeance, insecurity, love, betrayal—there is a whole spectrum of emotions that are carefully poured in. Crime, assaults and deaths are the outcomes of these emotions.

Malik is also the story of Ahammadali Sulaiman (Fahadh Faasil)—his metamorphosis from a small-time smuggler to the godfather of his hamlet in Ramadapally. The film opens to the eve in which Sulaiman is preparing to leave for Hajj. A “criminal” against whom there are terrorism-related charges, he is under the surveillance of the state even inside his little hamlet. The state is powerless, and Sulaiman is all-powerful, inside Ramadapally. He runs a parallel state there. However, once he leaves Ramadapally, the state nabs him. The plan is for an extra-judicial killing inside the jail while Sulaiman is under remand. But who would do it? The person that the police would find for that job is a juvenile from Edavathura. His details and family history, and his relation to Sulaiman would be revealed as and when different stories are told.

Malik has references to certain real events that happened in the 2000s in the coastal belt of Kerala. But it maintains that the geography and the characters are purely fictional. The script is tightly packed with numerous well-written characters and moments. But it takes an abstract stance when it comes to explaining whether Sulaiman was responsible for the series of terror attacks that were unleashed in Ramadapally. But the film takes a real stance against the soft violence unleashed on people, daily, by the “system”. It also dares to talk about how “terrorists” are created and executed by the state, when those who are really responsible for the terror get off scot-free. The film also gives hints about the invisible powers who aim to profiteer in the name of “development”. It also raises the question of whether those who are seen as the “elected representatives” of our democracy are representing people or these invisible forces.

The film portrays both Ramadapally and Edavathura as places where religions have a strong role to play. The film portrays religion as a tool of resistance and a tool to divide at the same time.

Malik is a film that demands multiple watches as it offers several complex characters. They are grey-shaded, and their decisions and choices are all decided by the will to power. This is the first character in the career of Fahadh Faasil in which he plays a role that is much older than real physical age. The film portrays Sulaiman’s life over four decades. And, Faasil brings his unique charm and screen presence to make people empathise with his character. Nimisha Sajayan who plays Roselyn—wife of Sulaiman—also gives a powerful performance. Dileesh Pothan’s Aboobacker, Vinay Fort’s David Christhudas and Jalaja’s Lyla Begum are the other praiseworthy characters in the film. Jalaja, who was active in the 1970s and 1980s, and had played iconic roles in Adoor Gopalakrishnan’s Elipathayam and K.G. George’s Yavanika , makes a great comeback in Malik. This is her first film after the 1992 film Snehasagaram.

Malik’s cinematography was done by Sanu Verghese who amazed the Malayalam audience with his debut film Aarkkariyam early this year. Verghese makes sure that the audience feels immersed in the stories of Ramadapally. Mahesh Narayanan had told in his pre-release interviews that Malik is a film shot for theatrical release. It is, in fact, a film worth watching on the big screen. Sushin Shyam’s music completely gels with the situations and boosts the scenes to a great extent. Anwar Ali’s lyrics for the song Theerame are mind-blowing. It completely captures all the emotions of Sulaiman and Roselyn’s life and love during their exile in the Minicoy islands in Lakshadweep.

Interestingly, parallels can be drawn between the resistance shown by Ramadapally and the currently undergoing protests in Lakshadweep against the policies undertaken by the Central administrator Praful Patel.

The Malayalam film industry is going through a phase of deep crisis induced by the pandemic. Malik is one of the biggest losses for Malayalam theatres this year. The film would have gained big applause from theatres, and would have given the big screens a chance to bounce back!

Movie: Malik

Cast: Fahadh Faasil, Nimisha Sajayan, Joju George, Dileesh Pothan

Director: Mahesh Narayanan

Rating: 4/5

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'Malik' Review: Fahadh Faasil, Mahesh Narayanan Tell an Intense, Engaging Saga

Here's the review of fahadh faasil, nimisha sajayan-starrer 'malik' that's now streaming on prime video., 'malik' review: fahadh faasil, mahesh narayanan tell an intense, engaging saga.

Alert: This review contains spoilers.

Mahesh Narayanan's Malik is a sweeping narrative that covers several decades in the life of Ahammadali Sulaiman (Fahadh Faasil), a man who represents different personas for different people. He's a powerful and respected community leader in Kerala's coastal areas of Ramadapally and Edavathura, he's also a terror accused for the state and an obstinate hindrance for a couple of ministers who want to make a quick buck. As Malik opens with an over 10-minute-long deftly shot and edited sequence of Sulaiman preparing to leave for Hajj, we get the impression of an intense saga unfolding and the film almost fulfils the promise.

At the very start of Malik, when the foreboding music by Sushin Shyam wafts over the opening credits , as a viewer you know you are in good hands between writer, director, editor Mahesh Narayanan, actors Fahadh, Nimisha Sajayan, Dileesh Pothan and cinematographer Sanu John Varghese.

Here's the review of Fahadh Faasil, Nimisha Sajayan-starrer 'Malik' that's now streaming on Prime Video.

Fahadh Faasil in Malik.

(Photo Courtesy: Amazon Prime Video)

Sulaiman's (fondly called Ali Ikka) growth as an influential local leader who also runs illegal activities follows the text-book narrative seen in films that revolve around desi Godfather- esque films . A school drop-out, after indulging in petty crimes like selling marijuana to tourists, Sulaiman graduates to smuggling. Alongside, we see his growing clout amongst the locals. As a mark of protest against their grounds near the mosque being used as a garbage dump, Sulaiman organises a group to deliver the rotting garbage back to the homes where they came from. He also shuts down a sand-mining project by the state knowing how it would endanger the homes of the local fishing community living by the sea.

When sub-collector Anwar Ali (Joju George) comes to pick up Sulaiman to be questioned in a murder case, he's thrown a smug challenge, "If you can take me away from amidst the people of Ramadapally, try and take me sir". That's the confidence he has and yet his own mother Jameela turns against him.

Fahadh Faasil and Nimisha Sajayan in Malik.

Sulaiman is ably supported by his friends Aboobacker (Dileesh Pothan), David Christudas (Vinay Forrt) and Peter Esthappan (Dinesh Prabhakar). It's his constantly fluctuating dynamics with them that makes the story of Sulaiman's ascent interesting. That and his relationship with Roseline (Nimisha Sajayan). Sulaiman and Roseline's marriage, the birth of their son (baptised as Anthony and later renamed Ameer on Sulaiman's insistence) leads to a breakdown in his relationship with David (Roseline's brother) and eventually creates a rift between the Muslim and Christian communities of Ramadapally and Edavathura.

Though Sulaiman is considered a representative of the ghettoised Muslim community of Ramadapally, he's a saviour for the oppressed cutting across religious lines till the end. Narayanan's writing clearly outlines how Sulaiman's own people who now walk the corridors of power instigate one community against the other to either settle scores or for personal gains. But Sulaiman is a flawed man who carries the guilt of a dead son and the retaliation to an engineered communal riot on his conscience.

Before leaving for Mecca, Sulaiman tells his concerned sister, "I have quit all ungodly work, so who should I fear now? If someone above Him is waiting to kill me, let it happen."

Fahadh Faasil and Vinay Forrt in Malik.

What makes for the most engrossing parts of Malik are the conspiratorial negotiations, strategies and ploys put into action by the police to bump off Sulaiman while he's in jail.

One of the best scenes in the film involves Sulaiman's old friend Abu (now a ruling party MLA) visiting him in jail. The tension between them, the veiled threats and retorts they exchange are played to the hilt by Fahadh and Dileesh.

It's almost impossible to not recall Mani Ratnam's stellar Nayakan (1987) while watching Malik . You expect someone to ask a frail Sulaiman "Neenga nallavara kettavara?" while he's held in police custody. But besides the moral ambiguity of Kamal Haasan's Velu Naicker, it's the complexity of Sulaiman's circumstances, his religious identity, his inter-faith marriage, constantly changing relationships that make Malik an interesting watch. Also, Narayanan dials down on creating a hero out of Sulaiman. The lensing of his character during his messiah-like sequences are distant, and not designed to make him larger than life, and rightly so. But then does it also make Sulaiman less endearing to the audience thus cutting down in our emotional investment in him?

Fahadh is intense as Sulaiman, though his simmering, grim demeanour for most of the film could be criticised as one-note. Nimisha too keeps a constant stern look and tone as an older Roseline. The larger cast including Dileesh Pothan, Vinay Forrt, Joju George and Indrans competently handle their parts in the narrative. Malik belongs to Narayanan who has written, directed and edited the film. It's an ambitious venture from the man behind Take Off and C U Soon . The film is well crafted and would have been a more rewarding experience to watch on the big screen. Masterfully told, despite the obvious comparisons to Nayakan, Malik holds its own, carving a place for itself as one of the best films of the year.

Rating: 3.5 Quints out of 5

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Malik Review: Fahadh Faasil's Film Isn't Always Exhilarating But Is Never Less Than Watchable

Malik review: the film, helped along by lead actor fahadh faasil operating within an uncharacteristically limited yet effective bandwidth, hits its straps..

Malik Review: Fahadh Faasil on a promotional poster

Cast: Fahadh Faasil, Nimisha Sajayan, Vinay Forrt, Jalaja, Joju George

Director: Mahesh Narayanan

Rating: 3 stars (out of 5)

A sprawling saga of a Godfather-like figure who resorts to crime in a fight against the depredations of politicians, bureaucrats and policemen in his small coastal town, Malik , written, directed and edited by Mahesh Narayanan (Take Off, C U Soon) takes it owns time to fully reveal its hand. When it does, the film, helped along by lead actor Fahadh Faasil operating within an uncharacteristically limited yet effective bandwidth, hits its straps.

Malik , out on Amazon Prime Video, centres on Ahammadali Sulaiman, a school dropout whose guts put him in the crosshairs of the administration of his town, Ramadapally. He is no ordinary law-breaker. There is a clear method to his misdeeds. But he has to pay a price. His crusade against corruption and communalism turns friends into foes and exposes him and his family to extreme danger.

Sulaiman and his community are vulnerable to both Nature's fury and human machinations. A destructive cyclone is alluded to in the film's opening moments. Later on, the 2004 tsunami strikes. The damage the calamity causes is more than just physical. It drives a wedge between Muslims and Christians, the two communities that dominate the area. The resultant unrest hands the police and their political masters a chance to fish in troubled waters.

In a movie as long as this - Malik clocks in at 160 minutes - and given a storyline peopled by a large number of characters, a few slack passages are inevitable. However, with the screenplay hitting many a right button in crafting a commentary on our fractious times, the narrative pulsates with enough life to remain on the boil until the bitter end.

Sulaiman, notwithstanding his flawed means, is focused on protecting the people, and the fragile ecology, of his hometown. He is unmindful of the religious dynamics at play here. How long can he hold out when political forces move in to incite hatred to serve their narrow ends?

Politicians are out to make a killing from illegal sandmining and lucrative but ill-advised government projects. Those that stand to profit from the contracts advocate the building of a highway and a harbour in the environmentally sensitive area. Sulaiman stands in their way. The battlelines are thus drawn between an individual and the agents of state power.

One of the key themes of Malik is sectarian harmony. The marriage of Sulaiman and his best pal David's sister Roselyn causes no stir, a sure sign that religious identities are worn lightly in this neck of the woods.

The hero makes it a point to assure his Christian bride that "I won't ask you to cover your head or convert". Even when he says in the same breath that "I want to raise my children as Muslims", he does not forget to add: "I want your permission for that." The fine balance that Sulaiman aspires to in his life is, however, cruelly disturbed.

The film opens in an ageing Sulaiman's abode. Cinematographer Sanu John Varghese's camera weaves its way around the house in a way that is both dizzying and revelatory. It reflects the conflicting energies circling around the protagonist who has been written and played with a clear sense of the frailties that the human flesh is heir to.

Sulaiman is a hero to his people but he is keenly aware that not everything that he has done in life is above reproach. He has decided to renounce his "ungodly" activities and go on Haj. Family members, including his wife Roselyn (Nimisha Sajayan), express concerns about his safety. He says that he no longer has anybody to fear but God.

He is about to board the aircraft when he is stopped and taken into police custody. The 14-day remand period represents the present. The rest of the tale unfolds in the past - a time span of several decades in the life of a man forged in a raging fire.

A 17-year-old Freddy (Sanal Aman), the only son of Sulaiman's brother-in-law David Christudas (Vinay Fort), becomes the conduit for three flashbacks that serve to piece together an eventful story of friendship, courage, betrayal and tragedy.

The film goes all the way back to the early 1980s to trace the origins and subsequent rise of Sulaiman as a man blindly trusted by the townspeople. From indulging in small-time crime - mainly smuggling of foreign goods - and building a mini empire in Ramadapally, he begins to perform deeds that elevate him to the status of a saviour.

The grounds of the town's mosque where his own father is buried are used as a garbage dump. The mosque does not have the funds to build a wall. The place stinks. The imam (Salim Kumar) laments that people have stopped visiting the masjid. Had this been a temple, things would have different, he says.

Sulaiman swings into action. He convinces Sub-Collector Anwar Ali (Joju George) to clear the area for the building of a school. Sulaiman's stocks rise even higher when he commits murder - the victim is a rival who has grievously wronged the town as a whole.

He dares the sub-collector to capture him and take him away from the midst of his people. He is that sure of the support he enjoys. His righteous mother (Jalaja), exasperated with her son's ways, has other ideas. She testifies in court against Sulaiman.

Returning to Freddy, the wounded boy is in jail for hurling a bomb at his own school. The police, led by Circle Inspector George Zacharia (Indrans), conspire to use him as a pawn in their battle against Sulaiman. The film's script itself makes the most of the impressionable Freddy's presence in prison to take the story forward - or, to be precise, backward.

First, it is Sulaiman's mother (Jalaja), who tells Freddy why she does not see eye to eye with her son. This, the longest of the three flashbacks, provides the narrative its spine. It is then the turn of Freddy's father David to tell him how he, Sulaiman and Aboobacker (Dileesh Pothan) go back a long way.

Their bonding snaps as circumstances take a nasty turn in the wake of the chicanery that overruns the town and injects venom into the hearts of people. The shifting equations among the three men who were once thick as thieves not only echo macrocosmic realities, they also provide a measure of the deleterious effect that ambition, disaffection and violence have on individuals.

Finally, in the lead-up to the climax, Sulaiman, now in the same prison cell as Freddy, tells his side of the story to the boy. The structure has a neat quality that helps the writer-director knit multiple perspectives into a single, if somewhat stretched, tapestry.

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Besides the fact that the younger avatars of Fahadh Faasil and Nimisha Sajayan are far less convincing than their older ones, the repeated leaps between the present and the past pose a few problems of comprehension. But, overall, it isn't difficult to stay invested in this portrait of a flawed Messiah.

Malik isn't always exhilarating but it is never less than watchable.

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Malik movie review: Fahadh Faasil-Mahesh Narayanan film is a pumping feat of narrative

Malik , meaning the chief or the owner, kick-starts with much tension because the life of the protagonist is at stake. The Mahesh Narayanan film that got its digital release on Amazon Prime Video after a long theatrical wait is just another miss for the big screens.

The opening single-shot sequence lasting for nearly 20 minutes typically summarises what is to follow in the layered emotionally driven drama.

Malik is the life story of Sulaiman right from his childhood and revolves around a coastal hamlet named Ramadapally. The trailer makes it amply clear the film traces his growth, ageing and even frailty. On the surface, it may feel as an ordinary fare, but the way it is narrated and executed makes all the difference. As the story develops, we realise that we are given the narration of an event from multiple points of view, thus adding depth and mystery to the same while shedding new light on it.

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In a whimsical opener that turns out to be a flash-forward, we see Sulaiman's preparation to go for the Hajj, leaving behind all his unjust ways. However, things turn upside down as he gets arrested. At the same time, a juvenile criminal is assigned to eliminate Sulaiman, while behind bars.

The gist of the tale

Innocence, sweat, land, camaraderie, love, blood, grime, gang, crime -- Malik showcases all such varied emotions while deftly weaving a relevant tale across decades. The essence of this gritty tale is one of evolution and survival, of people and of their lands. While some accept the change in the guise of development, some take on rebellious means to own land. Ultimately, the quest for the real owner with regard to power, politics and community looms over.

Standout features

With Take Off and CU Soon , Mahesh Narayanan has established a reputation as an avant-garde filmmaker so it should come as no surprise that he has integrated several acute observations on the current socio-political affairs. Another remarkable aspect of Malik is that two religious communities are best portrayed despite the changing times and it is the most heartwarming sight in the scruffy coastal village of Ramadapally. In one of the amazing sequence between Sulaiman and David, we get to hear how Jesus Christ has embraced the people of Ramadapally which is quite a breathtaking scene in itself.

There are even moments that give a human touch to the proceedings; take the case of the sub-collector Anwar Ali (Joju George) who arrives in the town to check on the 'Bombay-style gangster groups'. While we expect an encounter, we get to hear Sulaiman and Anwar Ali talk about a washing machine, the waste dumped in the locality and the need for a school. In another instance when Anwar Ali comes to question Sulaiman in a murder case, Sulaiman challenges him back saying, "If you can take me away from amidst the people of Ramadapally, try and take me sir". There are many moments like these with a pumping feat of narrative that make watching this film worthwhile.

Too long, but don't mind

At close to three hours this one is a tad too long and the story becomes a bit predictable at certain points as well. But it is the brilliant performances that make this film, absolutely gripping. The cast becomes an effective tool as Mahesh Narayanan has used all his actors to full effect irrespective of their importance in the film.

One could see the change in body language and attitude at different phases of Sulaiman and Fahadh should share the credit with the make-up department. Nimisha Sajayan and Vinay Forrt as Rosilyn and David were best finds too. Both characters have extreme rudeness, slightly orthodox mindsets and a different shade of innocence.

Grey characters

Like Rajeev Ravi's Kammatipaadam , Lijo Jose Pellissery's Angamaly Diaries and even Diman Denni's Valiyaperunnal , grey characters come as no surprise in this Mahesh Narayanan film. The characters are shown as growing with some hard-hitting incidents. The film remains largely inoffensive although it is filled with offensive characters constantly indulging in objectionable behaviour. Be it Sulaiman's mother played by veteran actress Jalaja or CI Kristhudasan played by Indrans – each character has one's own reasons for one's actions. Comparision with Kamal Haasan-starrer Nayakan is also bound to happen.

Impressive efforts by crew

Composer Sushin Shyam peps up the action sequences set by Hollywood stunt choreographer Lee Whittaker. The edits and screenplay have been so smart that even the smaller characters stay in your mind. The coastal life was also visualized impressively and the production design seems to have set a new benchmark in that manner. With stunning visuals by Sanu John Varghuse, the film is strikingly real and genuinely engaging. He is to Mahesh Narayanan what Rajeev Ravi was to Anurag Kashyap in Gangs Of Wasseypur .

Dramatic climax

Even as Sulaiman trusts his intuition, we expect no heroic twists or a happy ending. Because this guy, has always run behind the lives of others to own the land of Ramadapally without letting anyone else rule over the place and thereby created more enemies than friends. The climax is another aspect which comes in as an expected revenge routine, like a dramatic dome to a realistic narrative structure.

Malik is an ambitious vision that is so energetic and inventive that one forgets the fact that such similar stories and premises have been told before.

For those of you who liked their previous films, this one also has the cinematic quality you expect in a Mahesh Narayanan-Fahadh Faasil movie.

(The movie is available on Amazon Prime Video)

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Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

User RAGHU 110 683 days ago

Engaging and Emotional Gangster Drama.

Lakhan Maheshwari 1041 days ago

A paragraph is a series of sentences that are organized and coherent, and are all related to a single topic. Almost every piece of writing you do that is longer than a few sentences should be organized into paragraphs. This is because paragraphs show a reader where the subdivisions of an essay begin and end, and thus help the reader see the organization of the essay and grasp its main points.

Venkatesh i 4504 1056 days ago

"Ividathu kaaryangal nyangal nokki kollaam" is a very scary words any government would like to hear. Well made movie but there is so much of white washing of the main character (inspite of him saying that he has done many wrongs) that audience suffer from stockholm syndrome watching it. Acting & cinematography are good. Fahad is good as usual as if malayalam movies and fahad are made for each other. Nimisha has, f become a star for thinking audience and your eyes focusses only on her expressions when she is on screen. All the other characters have also done justiication to their characters though it is difficult to name of all of them. The sudden U-turn of JoJo's character, was it for safeguarding her daughter? The movie can be looked from govt. point of view, jojo's point of view and from Vinay fort's point of view. You will get different views. There was no comedy but when a north indian reviewer called the main character as Nation Builder, I felt like laughing.

Alan Smith 1062 days ago

apart from fahad fazils acting nothing is there in movie.just spreading cammunal violence.waste of time

Sylent Screamer 615 1065 days ago

as a movie its worth watching ...but yes its quiet misleading in terms of the reality.. well movies are always tend to be misleading .. Fahad Fasil shine once again with his acting and well supported by the other actors

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Malik Movie Review: Fahadh Faasil & Mahesh Narayanan Set The Bar High With This One Of A Kind Film!

Malik , the highly anticipated gangster drama that features Fahadh Faasil in the lead role, has finally premiered on Amazon Prime Video. The project marks the National award-winner's reunion with renowned director-editor Mahesh Narayanan. Malik is bankrolled by Anto Joseph under the banner Anto Joseph Film Company.

Did the Fahadh Faasil-starrer impress the viewers? Read Malik movie review here to know...

Performances by Fahadh Faasil and the rest of the cast

Writing and direction by Mahesh Narayanan

Technical aspects

Malik Movie Review: Fahadh Faasil & Mahesh Narayanan Set The Bar High With This One Of A Kind Film! | Malik Review | Malik Review And Rating

Sulaiman Malik aka Ali Ikka (Fahadh Faasil) is the most respected leader of the Ramadapalli locality. He decides to go for Hajj and end all the illegal activities, but the police arrest him at the airport for a crime he did years ago. With the cops planning to kill him within the prison walls, his wife Roselin (Nimisha Sajayan) struggles to get him out and keep him alive. Sulaiman Malik's journey from a commoner to the undisputed leader of Ramadapalli forms the plot of Malik .

Script And Direction

Mahesh Narayanan once again proves his mettle as both director and writer with Malik , which is a well-crafted gangster drama. Despite having striking similarities with the worlds set by the Hollywood classic The Godfather and Mani Ratnam's Nayagan , this Fahadh Faasil-starrer succeeds in carving its own identity. Right from the 12-minute long single shot (what a brave creative decision!) in the beginning, the audience is in for an unmatchable cinematic experience.

Malik Movie Review: Fahadh Faasil & Mahesh Narayanan Set The Bar High With This One Of A Kind Film!

Sulaiman Malik is indeed the center of this universe, but Malik is not all about its leading man. Instead, the Mahesh Narayanan directorial narrates the extraordinary journey of a flawed hero in the most unheroic fashion, which makes it a one-of-a-kind film. Here we get a leading lady who doesn't shy away from 'leading the way' or showing her husband a mirror. Similarly, every major character is layered and well-developed.

The film has some brilliantly written, executed, and acted scenes that are going to stay with the viewers for a very long time (Sulaiman and David's conversation near the statue of Jesus Christ and confrontation between Malik and his nephew, for instance). Among the three flashback stories that unfold Sulaiman Malik's life, the first and last ones were totally engaging and fast-paced. But, the movie falls into slow pace during the mid-portion, which neutralises the overall experience.

Performances

Fahadh Faasil once again re-invents himself as an actor with the character Sulaiman Malik. The National award winner portrays the various stages of the character's life with absolute ease and conviction. Malik is a hero in his own right, and the intensity in Fahadh's performance, makes the character majestic (especially in the character's aged sequences) without any punch dialogues and build-up scenes. At the same time, the subtlety in the actor's body language makes Malik humane and real.

Nimisha Sajayan proves that she is one of the finest talents we have, with the exceptional portrayal of Roselin. The actress simply outshines the rest of the star cast with her brilliant dialogue delivery (her dialect is on point), especially in the flashback portions. But Nimisha's performance does tend to get monotonous in the sequences showing the character as an aged person.

The rest of the star cast, including Vinay Forrt, Dileesh Pothan, Joju George, Indrans, Salim Kumar, Jalaja, Dinesh Prabhakar, Parvathy Krishna, Divya Prabha, Sanal Aman, and others have played their parts to near perfection.

Fahadh Faasil Shares His Experience of Working In Mahesh Narayanan's Malik

Technical Aspects

Malik is unarguably a masterpiece when it comes to the technical aspects. DOP Sanu John Varghese's brilliant visualisation, editing by Mahesh Narayanan himself, and the terrific production design by Santhosh Raman are the biggest highlights of this Fahadh Faasil-starrer.

Sushin Shyam, the music director scores with the soulful songs and haunting background score. Vishnu Govind, who handled the sound design, deserves a special mention. The costume design and make-up departments have also done great jobs.

Malik is a one-of-a-kind film that stands out with its exceptional making, terrific performances, and technical brilliance. Fahadh Faasil and Mahesh Narayanan have definitely set the bar high for future gangster films of Malayalam cinema with this well-crafted film.

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Malik Review: The Kerala's 'Godfather'

Movie: Malik (Malayalam/OTT) Cast: Fahadh Faasil, Nimisha Sajayan, Joju George, Vinay Fort, Dilesh Pothan, and others Music: Sushin Shyam Cinematography: Sanu Varghese Produced by: Anto Joseph Written, edited, and directed by: Mahesh Narayanan Streaming on: Amazon Prime Video Release Date: July 14, 2021

Fahadh Faasil’s big-budgeted Malayalam film, Malik, skipped theatrical release to have a direct-digital premiere. Let’s find outs merits and demerits.

“Malik” is directed by Mahesh Narayanan, who recently directed “C U Soon”. The story is very familiar, reminding us of other epic gangster movies like “The Godfather”, Mani Ratnam’s “Nayakan” and Anurag Kashyap’s movies. But the film is entirely rooted in Kerala’s political sphere. It is a story of friendship, betrayal, and revenge.

The communal politics between Muslims and Christians, the tsunami, and other elements have added depth to the otherwise Godfather-like story.

With nearly 2 hours 45 minute runtime, it narrates the story of Ali Akka, who begins his life as a petty criminal and becomes a savior to his community. The film begins with a tracking shot of two people bringing biryani to serve the people in the house of the don of Ramadapally.

As Ahammadali Sulaiman aka Ali Ikka (Fahadh Faasil) is about to board the flight on his Haji pilgrimage, police take him into custody. He is sent to 14-day remand. In three flashbacks, the film narrates the story of Sulaiman - how he became don of Ramadapally, a coastal village in Kerala, how he married Roseline (Nimisha Sajayan), sister of his good friend David (Vinay Fort), and why police are planning to kill him.

Sulaiman’s mother, David, and Sulaiman, the three of them tell their versions to Freddy, David’s son and the saga unravels over decades – from 1980 to the present day.

The first 12-minute sequence is filmed terrifically. It is a single-cut sequence that draws us into the world of Ali Ikka straightway. Then begins the first flashback, his mother narrating his rise. Of the three flashbacks, this is the longest one and also moves on a languid pace.

The real drama and the best scenes come in the latter part of the film when two other flashbacks appear.

As said earlier, it is a predictable storyline of gangster movies, but the narrative makes an engaging watch. Fahadh Faasil shoulders the film with his performance even when the story doesn’t rise much. He delivers his finest act in the final moments of the movie.

Nimisha Sajayan steals the scene with her superlative performance. As Fahadh’s wife, she gets the meaty character, and the film also ends on her. Other actors also have put up commendable jobs.

Sanu Varghese’s camera is brilliant. His work is outstanding in the first 12 minutes and the last shoot-out. Sushin Shyam’s background score is neat.

All in all, ‘Malik’ is a familiar story told with a slow pace, but it makes a decent watch for its performances and the camerawork.

Bottom-line: Fahadh's show

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Malik, On Amazon Prime Video, Examines The Tragic Interplay Of Religion And Violence

A short descriptor of Malik could be – a Malayalam Nayakan . Like Mani Ratnam 's 1987 classic, this film is also a sprawling story of crime and punishment spanning generations and decades – from 1965 to 2018. The sea plays a pivotal role. Nayakan is set in Mumbai. Malik is set in Ramadapally, a fictional coastal village in Kerala. In both films, the vast waters provide the backdrop for smuggling and romance. And in both, the protagonists are criminals who lead lawless lives but also have a strong moral centre. Velu Naicker and Sulaiman Malik are benevolent monarchs of the area they operate in and protect. But their lives are tainted by violence and loss. They age as we watch and both are eventually laid low by tragedy and time. At the end of Nayakan , when Velu's grandson asks him, 'Are you good or bad?', he says: I don't know. I suspect that if the question was put to Sulaiman, his reply would be the same.

Malik begins with a virtuoso 13-minute-plus continuous shot. The sequence is dazzling in terms of craft, ambition and dexterity – the stitching is seamless. But director Mahesh Narayanan and DOP Sanu John Varughese aren't merely strutting their technical prowess. The opening establishes Sulaiman's world, his contradictory life as a devout Muslim and a lawbreaker, his authority as a godfather who the poor and voiceless turn to, his fraught relationships with his family. It also establishes the overarching themes of Malik – religion, power, charity, morality, politics and politicians who ultimately poison everything.

The film then runs for a daunting two hours and thirty minutes but the length doesn't weigh down the storytelling. Mahesh, who multitasks as director, writer, editor and second-unit camera operator, structures Malik like a novel. The story begins in contemporary times. Three flashbacks by different narrators bring us up to speed on what created the current circumstances. Multiple narrators enable us to see multiple points of view. The cast of characters is vast and it took me some time to find my bearings. But Mahesh doesn't lose grip on the narrative. Like the conductor of a grand symphony orchestra, he masterfully alternates rhythms and dramatic beats, creating an aching, soaring saga.

When we first meet Sulaiman, he is a lion in winter. His face seems hollowed out by sorrow. His shoulders are hunched under the burden of what he has done and what he has endured. When his wife reminds him that there is danger in going out, he says, 'I have quit all my ungodly work. Whom should I be afraid of now?' And yet there is a certain majesty about him. The power he exudes is palpable.

This formidable spirit is in place even when Sulaiman is a petty smuggler in the 1980s. His career in crime begins with bringing in colognes and selling them for 15 rupees a bottle. He gives it away cheap because he doesn't know what it actually costs. But even as Sulaiman is breaking the law, he is helping to clean up the garbage around the masjid in Ramadapally and ultimately, construct a school. Like Vijay in Deewaar , Sulaiman's criminality fractures his relationship with his mother. But even she has a moment of pride when the school is built. Sulaiman is a nation builder and a humanist. He marries a Christian girl Roslin but he doesn't ask her to convert. Throughout his tumultuous life, he resists parochial definitions of Islam, insisting that the school and mosque also serve the Christian community in Ramadapally.

Sulaiman's life and actions are rooted in his faith, which looms large over the film. A key sequence is set against the Uroos festival. Religion and its rituals – both Muslim and Christian – anchor the film and give the plot gravitas. The malik in the title refers to Sulaiman but also to a higher power. Sulaiman's closest friend and partner-in-crime is Roslin's brother David. In one of the best scenes in the film, the two sit under a looming statue of Jesus Christ, which looks toward the mosque.

Also read: How Fahadh Faasil Became the Malik of OTT

But ultimately, religion becomes a wedge. The Muslims and Christians of Ramadapally are played against each other by police and politicians. Poverty, illiteracy, the desperate desire for a better life make them susceptible and relationships of a lifetime devolve into shrill conversations about our people and their people. The film's ending also hints that these not-so-sacred games played out in the name of God continue to prevail.

This vast saga is anchored by strong performances. Vinay Forrt as David; Joju George as the collector Anwar; Sanal Aman as David's son Freddy; Dileesh Pothan as the politician Aboobacker and Jalaja as Sulaiman's mother are all stellar. Nimisha Sajayan is terrific as Roslin, an educated woman who is capable of strength and strategy. She makes a formidable sparring partner for Fahadh Faasil , who plays Sulaiman. This is the kind of role that actors perhaps dream of – the chance to play the lifetime of a character, ageing from a sprightly twenty-one-year-old to a senior citizen. Fahadh hits the right notes for each stage of Sulaiman's life – his belligerent youth, the sweetness of his passion for Roslin, the fatigue of his failure to stem the tide of violence and communalism and his sad longing to make amends. Fahadh combines delicate melancholy with majesty and becomes, in every way, a malik .

The tragic interplay of religion and violence is enhanced by Sushin Shyam's music, which is mournful and haunting. Especially the gorgeous 'Theerame'.

Mahesh tips his hat to classics of the genre – one sequence that cuts between a funeral and violence echoes the iconic cross-cutting of The Godfather . But Malik is much more than an imitation. Mahesh has created a memorable portrait of the power of religion to save and scar.

You can watch the film on Amazon Prime Video.

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Movie Review: Malik

Article by Suman M Published by GulteDesk --> Published on: 6:24 pm, 15 July 2021 | Updated on 6:57 pm, 14 February 2022

Cast : Fahadh Faasil, Dileesh Pothan, Joju George, Nimisha Sajayan, Vinay Forrt Director : Mahesh Narayanan Music : Sushin Shyam Banner : Anto Joseph Film Company Producer : Anto Joseph Release Date : 15 July 2021

Fahadh Faasil has become the face of Malayalam cinema these days. All his previous films on OTT have become good hits. He is now ready with his dream project, Malik which is now streaming now on Amazon Prime. Ramesh Narayan directs this period drama.

What’s it’s about?

The film is based on Suleman Malik(Fahadh Faasil) who is the messiah of the masses in a fictional village called Ramadapally, Kerala. The film starts with the cops arresting an aged Malik because of his criminal records from the past. But the cops decide to finish Malik in jail to clean up the mess he has created. Will they be able to do that? and what all Malik has done over the years is shown in a two and half hour serious drama.

Performances

It would be no exaggeration to say that Fahash Faasil is one of the top five actors in the country as of now. Malik is Fahadh’s Nayagan and Godfather. He lives in the role of Malik and showcases wonderful transformation in the various age groups that he portrays. Fahadh’s dialogue delivery, expressions, and body language suit the backdrop perfectly. Nimisha Sajayan is solid in her supporting role and is perfect as the key factor in Malik’s journey. Vinay Fort, Joju George, and Sanal Aman are effortless in their characters and are cast perfectly into the setup.

Technicalities

Malik starts with a solid 11-minute sequence involving multiple artists and is the best scene in recent times. Right from the camerawork to the music, everything is praiseworthy. Music by Sushin Shyam is perfect as he gives that Muslim touch to the proceedings impressively. The props used, costume design, everything is perfect in Malik as the bygone eras are revealed in an impressive manner. Storywise, there is nothing to rave about it as the film is a re-hash of all gangster dramas in the past. Only the setting is new.

Fahadh Faasil

Routine Story

Director Mahesh Narayanan showcases the story of Suleman Malik in different time zones providing Fahadh Faasil a lifetime opportunity to go all out in his role. The film is a political thriller with a mix of action and gangster backdrop. But the director does now dwell in much of it and showcases the journey of Malik in an impressive manner with beautiful scenes.

The only hurdle in this film is the sheer pace with which it is unveiled. There are also a few logical errors related to how the cops operate in the story. The film has a good supporting cast and solid family drama dealing with Malik’s weaknesses. The emotion is intact and this is where the film scores. Malik has solid production values and Malik single-handedly keeps knocking out the best scenes one after the other.

Malik has a big heart and Fahadh makes sure that his performance will draw the audience into the film till the end. Though the film unravels at its own pace in the first half, things bounce in the second half. But the only thing one needs to bear is the slow pace otherwise, Malik is a wonderful drama to savor.

Bottom Line – Fahadh Faasil at his ultimate best

Tags Fahadh Faasil Malik Movie Review

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‘Malik’ movie review: Fahadh Faasil drama stops just short of soaring high

Mahesh narayanan’s multi-layered mass entertainer, with fantastic character arcs and performances, truly makes us miss the big screen.

July 15, 2021 11:35 am | Updated July 16, 2021 11:59 am IST

Fahadh Faasil in ‘Malik’

When the end credits of some films roll up, we wonder how little we know about the protagonist, other than probably the person’s external appearance. Malik ’s opening sequence, stretched over an uninterrupted ten minutes, exists in a diametrically opposite world, where establishing the character and painting his various hues before the narrative takes off, is paramount.

Also Read | Get ‘First Day First Show’, our weekly newsletter from the world of cinema, in your inbox . You can subscribe for free here

In those frenetic opening minutes, when Ahammadali Sulaiman (Fahadh Faasil) is preparing to leave for his Hajj pilgrimage, we get hints of his chequered past, the tone of his relationships with his family as well as some powerful people, his stature as a revered and feared leader of the local Muslim population, and finally, his uncertain future. That character sketch is so arresting that we almost don’t pay attention to the fact that the shot was uninterrupted — which is how good cinematography should be — unobtrusive and non-gimmicky.

Read More | Fahadh Faasil interview: ‘A film with honest emotion will cross borders’

After the immensely successful Take Off and C U Soon , writer and director Mahesh Narayanan ups the game in his third outing Malik , with a multi-layered narrative weaved around a manufactured conflict between two communities, which leads to much bloodshed. The central conflict here hinges around Sulaiman aka Ali Ikka, who is arrested from the airport for an old terrorism-related charge. The police wants him eliminated, for there is much bad blood between him and the force, but it is easier said that done.

Director: Mahesh Narayanan
Cast: Fahadh Faasil, Nimisha Sajayan, Vinay Forrt, Dileesh Pothan, Joju George
Duration: 2 hours 41 minutes
Plot: The life of Sulaiman Malik, a charismatic leader who helps the people of his community and support to stand up against the corrupt forces

The writer certainly has drawn elements from a riot and police shootings, which happened on the Kerala coast some years back, although the film does not claim to be a real-life narrative. Rather, the film has more similarities to traditional gangster narratives, and recent films like Vetrimaaran’s Vada Chennai , with its portrayal of the relatively innocent days of the protagonists, the slow shift into the sale of smuggled goods, the natural animosities that are created in this line of business, and the betrayals that follow. The resultant predictability coming from this familiar structure though, does not mar the experience much.

Malik is also a story of the evolving relationships between the local communities in the adjacent coastal villages of Ramadapally and Edavathura, and the colourful characters who populate these shores. Almost all of them get interesting character arcs, be it Ali’s wife Roseline (Nimisha Sajayan), her brother and Ali’s friend-turned-foe David (Vinay Forrt) or Abu (Dileesh Pothan), who transforms from an affable local smuggler to a scheming politician. Though Ali towers over the local population, he is hardly ever larger-than-life; we are aware of his frailties and get a feeling that he could fall.

The script subtly looks at how extremists as well as power-hungry elements in every religion try to create and widen fissures with other communities and pour oil into simmering tensions, all for their own narrow benefits. At the same time, the script takes special care in separating Ali from these elements, despite his violent past. It seems to create a thin veneer of justification for his acts being in the larger interests of the people, rather than for his own purpose. Some other convenient takes, like blaming the police for almost the entire bloodshed, stops the film just short of soaring high.

Malik is envisioned and executed as a mass entertainer on a larger scale (and for a larger screen), with Sanu Varghese’s camera and Sushin Shyam’s background score taking it up a few notches. Ultimately, Mahesh Narayanan is here stay, irrespective of whether the scale or screen is large or small.

Malik is currently streaming on Amazon Prime

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COMMENTS

Malik (2021)
Malik: Directed by Mahesh Narayanan. With Fahadh Faasil, Nimisha Sajayan, Vinay Forrt, Jalaja. A past ridden with crime, death and pain is recounted to Freddy, a juvenile criminal, who has been assigned to eliminate his estranged uncle Sulaiman, an aging patriarch, while behind bars.
Malik
90% Tomatometer 10 Reviews 91% Audience Score Fewer than 50 Ratings A young man rises to ... 2022 Full Review Jimmy Cage Jimmy Cage Movie Reviews (YouTube) MALIK is epic gangster cinema made with ...
Malik
Malik Reviews. "Malik" is a great movie, with Narayanan having implemented the "lessons" he took from Anurag Kashyap, Francis Ford Copolla and Lijo Jose Pellissery, in the best fashion ...
Malik (2021)
User Reviews. Engrossing crime drama with top notch performances. I saw this recently on Amazon Prime after reading glowing reviews. This is my first Malayalam language movie n also the first movie of the lead actor Fahadh Faasil. This movie definitely deserves all the accolades. Faasil gave a terrific performance n his mannerisms, his change ...
Malik Movie Review: Stirring, immaculately staged epic
We get a tangible sense of the turbulent history of its real-life inspirations, be it the characters or setting. It's impossible to predict the timing of the jolts. An undercurrent of menace pervades the entire film. Director: Mahesh Narayanan. Cast: Fahadh Faasil, Nimisha Sajayan, Vinay Forrt, Joju George.
Malik movie review: Fahadh Faasil-starrer is a small-scale epic
Malik movie rating: 3.5 stars. A small coastal town in Kerala. Rising corruption. Political games. Communal harmony pushed to the brink. A police force working under pressure. And one man standing up to save his family, and his people. 'Malik' parlays its time and place and characters into a sprawling sparkler of a film, told with great ...
Review Of Malik, On Amazon Prime Video: Mahesh Narayanan Brilliantly
Streaming Reviews. Review Of Malik, On Amazon Prime Video: Mahesh Narayanan Brilliantly Tells A Hero's Story In The Most Unheroic Manner. ... As an aside, there are at least two homages to The Godfather movies in Malik. One is from part two, where we see the Godfather character chasing someone he wants to kill over a rooftop and the other one ...
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Malik movie review: Fahadh Faasil reunites with his Take Off and CU Soon director Mahesh Narayanan. At over two-and-a-half hours long, Malik is a suitably epic crime saga; its reach often exceeds ...
Malik Movie Review, On Amazon Prime Video: A Rewarding Gangster Saga
Review Of Malik, On Amazon Prime Video: A Rewarding Gangster Saga And A Fresh Update On Both Nayakan and Godfather. Even minor characters have a way of coming back later on to show us their impact and place. And that's how a film with so much vastness in both scale and subject manages to affect us so emotionally. Spoilers Ahead….
Malik Movie Review: Fahadh Faasil is simply brilliant in this Amazon
Rating: Set in the fictional fishing village of Ramadapally, Kerala, between 1965 and 2018, Malik tells the tale of a malik (master) Suleiman (Fahadh Faasil), who is the messiah for the fisherfolk of the village. The film begins with Suleiman AKA Ali Ikka in his 50s, set to take a pilgrimage to Hajj after renouncing illegal activities.
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Malik is one of the biggest losses for Malayalam theatres this year. The film would have gained big applause from theatres, and would have given the big screens a chance to bounce back! Movie: Malik. Cast: Fahadh Faasil, Nimisha Sajayan, Joju George, Dileesh Pothan. Director: Mahesh Narayanan. Rating: 4/5. 📣 The Week is now on Telegram.
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Malik Review: The film, helped along by lead actor Fahadh Faasil operating within an uncharacteristically limited yet effective bandwidth, hits its straps.
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Malik movie review: Fahadh Faasil-Mahesh Narayanan film is a pumping feat of narrative. Malik, meaning the chief or the owner, kick-starts with much tension because the life of the protagonist is at stake. The Mahesh Narayanan film that got its digital release on Amazon Prime Video after a long theatrical wait is just another miss for the big ...
Malik Review : A story for these conflicted times
Malik Review : A story for these conflicted times. Anna Mathews, TNN, Updated: Jul 15, 2021, 04.33 AM IST Critic's Rating: 3.0/5. Story: A bold, risk-taker, Sulaiman, is keen to bring positive ...
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Malik, the highly anticipated period drama that features Fahadh Faasil in the lead role, has finally premiered on Amazon Prime Video. The project marks the National award-winners reunion with ...
Malik Review: The Kerala's 'Godfather'
Movie: Malik (Malayalam/OTT) Cast: Fahadh Faasil, Nimisha Sajayan, Joju George, Vinay Fort, Dilesh Pothan, and others Music: Sushin Shyam Cinematography: Sanu Varghese Produced by: Anto Joseph Written, edited, and directed by: Mahesh Narayanan Streaming on: Amazon Prime Video Release Date: July 14, 2021 Fahadh Faasil's big-budgeted Malayalam film, Malik, skipped theatrical release to have a ...
Malik, On Amazon Prime Video, Examines The Tragic Interplay Of Religion
A short descriptor of Malik could be - a Malayalam Nayakan.Like Mani Ratnam's 1987 classic, this film is also a sprawling story of crime and punishment spanning generations and decades - from 1965 to 2018. The sea plays a pivotal role. Nayakan is set in Mumbai. Malik is set in Ramadapally, a fictional coastal village in Kerala. In both films, the vast waters provide the backdrop for ...
OTT Review : Malik
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Malik (film)
Malik (transl. King) is a 2021 Indian Malayalam-language political thriller film directed, written and edited by Mahesh Narayanan. It was produced by Anto Joseph through Anto Joseph Film Company along with Carnival Movie Network.The film stars Fahadh Faasil with Nimisha Sajayan, Vinay Forrt Jalaja, Joju George, Dileesh Pothan and Indrans in supporting roles.
Movie Review: Malik
Technicalities. Malik starts with a solid 11-minute sequence involving multiple artists and is the best scene in recent times. Right from the camerawork to the music, everything is praiseworthy. Music by Sushin Shyam is perfect as he gives that Muslim touch to the proceedings impressively.
'Malik' movie review: Fahadh Faasil drama stops just short of soaring
Malik is envisioned and executed as a mass entertainer on a larger scale (and for a larger screen), with Sanu Varghese's camera and Sushin Shyam's background score taking it up a few notches ...
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10 Lives (2024)
10 Lives: Directed by Christopher Jenkins. With Mo Gilligan, Simone Ashley, Sophie Okonedo, Zayn Malik. A pampered cat takes for granted the lucky hand he has been dealt after he is rescued and loved by Rose, a kind-hearted and passionate student. When he loses his ninth life, fate steps in to set him on a transformative journey.