Madhuvidhu Review: Fun Entertainer with Loose Ends

Vishnu Aravind's Madhuvidhu is a family entertainer that works in parts but falters when its drama turns unconvincing, observes Sreeju Sudhakaran.

The teaser of Madhuvidhu, directed by Vishnu Aravind, gave me the impression that this would be a light-hearted entertainer with a supernatural twist. There was even a hint that the plot might expand on Kalyanaraman's 'cursed family' trope, involving a male-dominated household where no woman can thrive.

While Madhuvidhu does revolve around such a family and frequently references a supposed curse that prevents women from staying there, the only supernatural element comes from the 'living' portraits of the ancestors, who constantly bicker with one another.

Beyond that, the film remains a pleasant entertainer aimed at the family audiences, with a few surprises that elevate the humour in places.

What's The Plot of Madhuvidhu?

Amrutharaj, aka Ammu (Sharaf U Dheen), runs a café and belongs to a household made up entirely of men. His grandfather and father Rajkumar (Jagadish) are widowers, while his uncle Ambarish (Azeez Nedumangad), a cable operator, is a chronic bachelor. Ammu also has a younger brother, Vimal (Amal), who is still in college.

The family is desperate to find Ammu a bride, but after 28 failed alliances, the villagers begin to believe the household is cursed. Meanwhile, Ammu falls in love with the spunky Sneha Markose (Kalyani Panicker). Despite religious differences, both families agree to the marriage.

However, complications soon arise that threaten to derail the union, reinforcing the belief that the curse is real, albeit in ways no one anticipates.

Comedy Works in Several Sequences

The first half of Madhuvidhu is largely devoted to establishing Ammu's family dynamics and his romance with Sneha. These portions unfold in a breezy, colourful manner, and the familial interactions feel organic and relatable.

The humour here is gentle and unforced, though it does not consistently land. The sequences involving the animated portraits, in particular, do not generate the laughs as intended.

It is around the interval that the film delivers its first genuine surprise, introducing a complication in the wedding plans that I did not see coming. This is where the narrative finally gathers momentum, even if it takes nearly an hour to get there.

The humour improves considerably from here on. The comic situations gain sharper edges, and several character reactions to the unfolding developments, both verbal and non-verbal, are genuinely laugh-out-loud. Till it hits an emotional roadblock.

The Film Dips in the Dramatic Portions

The screenplay by Bibin Mohan and Jai Vishnu keeps stirring the pot for Ammu, throwing up a series of quirky obstacles that stand between him and his happily-ever-after.

That said, the writing is not entirely smooth. Some of the narrative knots lack the conviction needed to register as credible dramatic conflicts, especially when the film veers into sentiment.

There is a stretch where it feels as though Sneha might turn out to be the instigator of trouble in Ammu's household. While the film avoids that clichéd route, the way it easily manufactures a compromise and then introduces another tiff to extend the conflict comes across as drama for its own sake.

The uncle's romantic track, though adding a touch of whimsy, does not contribute meaningfully to the core narrative. It feels predictably set up and insufficiently developed to justify its presence in the already established chaos. The writers attempt to introduce a minor conflict rooted in Ambarish's misogyny, but it is resolved rather casually.

Also, it is perhaps time Malayalam cinema moved away from casually depicting husbands slapping their wives over minor verbal disagreements. Even though the film acknowledges the act as wrong, it is ultimately treated as a trivial development.

Despite the inclusion of a melancholic song, we never truly see Sneha's emotional state in the aftermath. We see her angry with him in some scenes, and then we find her dancing around him in the finale.

To perhaps acquit itself of this awkward dramatic staging, Madhuvidhu quickly returns to its comedic tone, though by then, the momentum it has built pre-interval has clearly taken a hit.

The finale, centred around a wedding and yet another complication for Ammu to resolve by hook or crook, is passable at best, largely because the conflict it hinges on feels undercooked and unconvincing.

By this point, it becomes evident that many of the central issues could have easily been avoided had the characters simply chosen to be less self-absorbed and communicate honestly with those they claim to care about.

The Performances Sparkle

Speaking of the cast, Sharaf U Dheen excels in a role that plays to his strengths as the straight man caught in absurd circumstances, something he has done effectively in films like Madhura Manohara Moham and Hello Mummy. His deadpan delivery, especially in the second half, is quite funny.

Kalyani Panicker, making her debut, is confident and charming, particularly in the romantic portions. However, her character could have benefited from stronger writing in the latter half to make her motivations clearer.

Jagadish continues his impressive run, adding both humour and emotional depth as the father whose actions complicate his son's life. He is a delight, particularly in the second half where his character has more scope to perform.

Saikumar, as Sneha's exasperated father, is dependable, while Azeez Nedumangad brings plenty of energy as the hot-headed uncle. Sreejaya Nair performs her part neatly, and Amal Jose Antony, along with Sanju Madhu, fit comfortably into the film's comedic rhythm.

Hesham Abdul Wahab's songs blend well within the narrative, though they are not particularly memorable beyond the film.

PS: I did find it odd that the film uses actress Urvashi's photograph for Ammu's deceased mother, even though she does not appear in the film. Malayalam cinema usually opts for images of departed actors in such cases. While this could be a nod to Jagadish's popular pairing with Urvashi in films like Simhavalan Menon, Bharya and Streedhanam, it still feels unusual.

Madhuvidhu Review Rediff Rating: