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Times of India
The film is set in a rich Muslim family where a girl elopes with a Hindu doctor. The man then comes back to the family and mends hearts without revealing his identity.
As scriptwriters, Sibi K Thomas and Udayakrishna jointly share a love for the excess. They house their characters in towering mansions with a floor area that tease the cinematographer to fiddle with wide lenses. Since the house is big, they occupy almost every room with characters and make sure that all of them are dressed up so elegantly that a group photo could be taken even at midnight when they are deep asleep. The script has to be squeezed in with festive occasions preferably marriages because they want the houses lit up with so many LED lights in dazzling colours.
Hidden inside all these palpable manifestations for light, colour and people is their deeply-rooted penchant for patriarchy. In Mailanji Monjulla Veedu, A Muslim patriarch guns down a youngster for trying to elope with his daughter. He is jailed and released, with hatred steaming inside. A mediocre tale, we have already seen its many versions.
An accident leaves him in bed with a weak body. The man who eloped with the girl comes in the guise of a Muslim doctor. Magic happens, the patriarch stands on his feet with revolver in his hands. Shock, joy, celebration follow. It would be insolent to say that such films come out of nil effort, for there is plenty of work that goes into decking up the sets for songs and preening up the characters for each of such occasions. Concealment of identity amid threating circumstances calls for lighter moments and the scriptwriters famous for churning out hits from the same mould do not have to work hard to recreate such moments. A part-crafty, part-innocent henchman has to side up with the leads in their antics to fool the entire family.
There is lavish borrowing from the films set in middle of 90s where good-hearted heroes ruffle merciless patriarchs and then put on a disguise to melt away the stones inside the hearts. Jayaram and Asif combine to evoke a sense of tiredness which fails to patch the plot despite their best efforts. A late realization that the film has to say something comes bit too late as the cruel head of the family is lectured on communal harmony. Mediocrity and predictability have seldom augured well for the prospects of a film and so is the case with this film.