Vilaayath Budha: An Ambitious Film that Falls Short

The film *Vilaayath Budha*, directed by Jayan Nambiar and based on the novel by GR Indugopan, struggles to deliver a compelling narrative, leaving audiences disappointed. Despite its promising source material and initial aspirations, the adaptation fails to capture the emotional intensity and philosophical depth of the original work.

The film features a cast that includes Prithviraj Sukumaran, Shammi Thilakan, and Priyamvada Krishnan, but instead of a gripping tale, viewers are met with a languid and directionless experience. Nambiar, stepping in for the late filmmaker Sachy, whose vision originally inspired the project, finds himself unable to translate the novel’s potential into a dynamic cinematic form.

One of the film’s central characters, “Thoovella” Bhaskaran, played by Shammi Thilakan, undergoes a profound transformation after a humiliating incident that leaves him stripped of dignity. This leads him to contemplate death as a means of reclaiming his honour, focusing on a rare sandalwood tree as a symbol of redemption. Meanwhile, his former student, Double Mohanan, portrayed by Prithviraj Sukumaran, views the same tree through a lens of greed and ambition. The film attempts to explore the clash of dignity and desire but ultimately falls short of creating a powerful narrative arc.

Nambiar’s direction lacks the necessary urgency, spending over ninety minutes merely establishing the conflict without building emotional tension. The screenplay, while retaining core plot points from the novel, feels stretched and often meanders into disjointed scenes that detract from the overall impact. A particularly jarring moment occurs when Mohanan and Chaithanya, portrayed by Priyamvada Krishnan, face a precarious situation in a jeep, which is played for laughs rather than drama, highlighting the film’s lack of coherence.

While the film’s visuals effectively capture the landscape of Marayur, some VFX elements appear amateurish, undermining the overall production quality. The score by Jakes Bejoy, while adequate, fails to compensate for the screenplay’s shortcomings.

Performances from the cast provide some relief, with Shammi Thilakan delivering a heartfelt portrayal of Bhaskaran. His performance stands out as the emotional core of the film, evoking depth and vulnerability. In contrast, Prithviraj Sukumaran delivers a more inconsistent performance, portraying a character that lacks the complexity expected from such a narrative. Meanwhile, Priyamvada Krishnan‘s character appears poorly developed, often falling into cliché, which weakens the film’s exploration of female agency.

As *Vilaayath Budha* progresses towards its final act, it loses clarity and direction, culminating in moments that are unintentionally humorous rather than meaningful. The film’s inability to provide philosophical insights or emotional catharsis renders it a hollow adaptation that runs for nearly three hours without ever finding its voice.

In conclusion, *Vilaayath Budha* serves as a reminder of the potential that could have been realized had the vision of the late Sachy been fully realized. The film’s shortcomings highlight the challenges of adapting rich literary works into engaging cinematic experiences, leaving audiences longing for a more impactful interpretation.