Vala Movie Review: How Lukman and Dhyan Sreenivasan Create a Captivating World But Struggle to Break Free

Vala Movie Review: The film *Vala*, directed by Muhashin, shows glimpses of promise but ultimately falls flat. While some moments spark intrigue and evoke emotions, they are overshadowed by a bland overall execution. The film had the potential to be a captivating comedy, but it does not deliver.

In the story, Sarala (Raveena Ravi) possesses a precious bangle that she says has been in her family for generations. Her husband, Purushothaman (Dhyan Sreenivasan), is fascinated by it but struggles to remove it from her wrist, causing them both discomfort during their intimate moments. Complications arise when another character, Vishalakshi (Sheethal Joseph), sees the bangle and urges her husband, Bhanu Prakash (Lukman Avaran), to find a replica. Despite their efforts, they fail to locate a similar piece.

When Bhanu seeks Purushothaman’s help to photograph the bangle for a duplicate, he discovers it is actually worth a fortune. Recognizing its value, he declines to assist, leading Bhanu to vow to retrieve the bangle himself. This quest spirals into conflict when an elderly woman, Paathumma (Shanthi Krishna), claims the bangle belongs to her. The ensuing battle forms the movie’s crux.

Initially, *Vala* captivates with lively incidents and rich world-building. However, it struggles to maintain this momentum. Many scenes start to feel repetitive in the second half. Harshad’s screenplay features unnecessary moments, leaving the audience disengaged.

Character development is inconsistent. Bhanu, introduced as a good-hearted man, makes questionable decisions without clear reasoning. Similarly, Purushothaman’s shift towards greed feels abrupt. Though the main female characters, Sarala and Vishalakshi, receive sufficient attention, the film reduces them to stereotypes, perpetuating the notion that women are overly materialistic.

Historically, themes of gold and wealth have been prominent in Indian culture, often showcasing women’s relationship with these values. In the film, Sarala is employed, yet she is portrayed through the lens of stereotypes associated with working women in Kerala, reinforcing negative traits like indifference.

Despite its flaws, *Vala* shines in moments of action and romance, highlighting Muhashin’s effective direction. The chemistry between characters and well-choreographed fight scenes add vibrance to the film. Yet, even with strong performances by actors like Raveena Ravi, the narrative’s shortcomings keep it from reaching its potential.

In summary, Muhashin’s direction and some engaging scenes give *Vala* potential, but inconsistency in storytelling and character development lead to an underwhelming experience overall. The film’s ending lacks the impact needed to leave a lasting impression, ultimately resulting in a missed opportunity for a refreshing exploration of its themes.

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