A huge technical canvas, a political undertone which is relevant in the present scenario, social mores that are engaging and talented actors on board, Jiyen Krishnakumar’s ‘Tiyaan’ is impressive on many counts. It is passably impactful too with the fight of good against evil. But then, this is also the move’s limit, as it strives dextrously to compartmentalize the right and the wrong. There is the Murali Gopi touch in this movie too. The script has been conceived well. However, we get a taste of prejudice and a blinkered narration which takes away from the brilliance of the movie’s beginning. Also the patronising tone as it glorifies Brahminism time and again, makes ‘Tiyaan’ an offensive movie.
Without going into the ideological framework of ‘Tiyaan’, one can say that the movie is a good enough watch. But the casteism it tries to critique while actually adhering to it all throughout the narrative is off-putting. The story is set in a fictional village in North India. We have Pattabhiranam played by Indrajith in the village, well versed in the scriptures and Vedas, whose ancestors have been living in the land over the years. The arrival of a god-man Mahashay Bhagawan (Murali Gopi) changes things when he wants the former’s land to build an ashram. Pattabhiraman’s struggle is narrated in the first half. With the arrival of the enigmatic Aslan Muhammed (Prithviraj), the story takes a new path. From then on, we have the lines clearly drawn. There is the unravelling of the connections of the self declared Bhagvan and Aslan in back stories. The fight follows. But Mahashey is hardly a worthy opponent for the duo on the other side. He is all fright and shivers as his past catches up with him. Ananya plays Pattabhirama’s wife. Suraaj is the typical neighbour. Padmapriya in her comeback of sorts doesn’t have anything much to do. From beef to hindu-muslim unity the movie sort of addresses events of contemporary socio-political import.
Indrajith owns the screen in the first half and he admirably carries Pattabhiraman on his able shoulders. Prithviraj gives a controlled performance though the elaborate back story in Bombay is exaggerated. Murali Gopi does his antagonist role with ease. Ananya and Suraaj too are expressive and it was good to see Suraaj in yet another role of substance. The supporting cast has also chipped in well to give a seamless presentation. Mohanlal’s voice over is also engaging.
Cinematography is the movie’s highlight. The camera work as it pans out to show the speck of this village or the dusky tones of the times is interesting. Editing is again good enough. Art work is expansive and the massive sets are well conceived. The use of Malayalam, Hindi and Sanskrit adds to the movie and the actors mouth these well too. Screenplay needs to have been more sensitive to the ideology it was trying to critique. ‘Tiyaan’ is an engaging watch with some intense action and a take on some of the current political stances.
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