It would have been more plausible than the reason he gives for digging up the past. He might have simply said that he was attracted to Nitin’s mother Sharmela (Nayanthara). Baby also comes up with a lame excuse to justify why he’s taking such a special interest in helping the child, Nitin (Izin Hash). The motive of Shalini seeking help from Baby, who is suffering from post-traumatic disorder since the accident, remains unclear. Shalini (Divya Prabha), a child psychologist, finds it necessary to discuss the case of a school kid who explained a murder in great detail in class, frightening everyone. It is anyone’s guess how balanced and fair he would be in delivering judgement in the cases.įor some reason, his friend Dr. What’s more, the ill-tempered John Baby is a judge at a court and is often distracted by his emotions while doing his job. What starts as road rage ends in the tragic mishap. We find out that the car that crashed into the bikers had John Baby behind the wheels. The rug stays firmly in its place as he gives us a film that is high on promise and low on delivery. He aims to pull the rug from under our feet, but barely moves us. Bhattathiri chooses a narrative style that is low on impact. For a film to work, you also need substance and style. However, just picking colourful names for characters cannot entirely salvage a film. A noble practice that filmmakers in other parts of the country could embrace. And such vivid names makes a story feel more cosmopolitan, progressive and inclusive.
It feels like a conscious effort of filmmakers to avoid monotone in the narration and subtly remind us how we all are dependent on each other. How often you come across characters in a mainstream film with such unique names.
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For instance, the name of the protagonist in Nizhal is John Baby (Kunchacko Boban), and he supported in his day to day life by Ajith Kumar, Shalini, Dr Basheer, driver Kaif, constable Sainudheen and his colleague Vijayan.
And this is beautifully presented by the names of the characters which are anything but conventional. Most films have characters from different cultural, religious and ideological backgrounds. Modern-day Malayalam films need to be celebrated for their diversity.
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