Directors: Shaji Kailash
Writer: Rajesh Jayaraman
Cast: Mohanlal
Crew: Shaji Kailash, Abinandhan Ramanujam, Don Max
I had alluded to the potential of a movie staring only Mohanlal in my evaluation of the work of director Ranjith. This was at least two years prior to Covid and many years before movies made in a single location with a small cast started to feel redundant. The sea, the majestic elephant, and of course our favorite Mohanlal were said to be the only three sights that Malayali’s would never get tired of seeing at the time. But the stereotype doesn't seem to have held up all that well over time, according to numerous Aarattus and after. Alone, directed by Shaji Kailas, succeeds in erasing that cliche from our collective memory by making a movie that is so fixated on its star that you find yourself gazing up to heaven in the hopes of seeing another face.
Alone establishes the rules for the tiny universe it attempts to construct. It is set within one residential building in Kochi during the first lockdown. It states right away that there will only be one actor playing the lead part, and all other supporting roles will only be voiced. The main character of the movie is a man by the name of Kalidas (Mohanlal), who is not well known. The mannerisms and body language of this man resemble many of the heroes Mohanlal portrayed in the films of director Ranjith. But if you want to be a stickler, Kalidas is most like Chandramouli from Rock and Roll; he's just as arrogant and enjoys spitting forth pop philosophy.
Unbelievably, the fundamental concept made me think of Mohanlal's own Vismayathumbathu. In this movie, the concept of telepathy is used to describe a character's ability to hear the voices of two persons who lived in his flat before he did. Naturally, the goal is to produce exciting situations where it's difficult to tell if what you're seeing is real or not.
As a result, when it turns into a murder mystery, all of the answers are right in front of you. Even if there were more characters, they were maintained to a minimal so you could spot the red flags hours in advance. The same makes you feel like it's Oscar-worthy when you compare it to the dialogues, even if the screenplay's overall structure is too simplistic. The dialogue between a mother and her daughter, which is supposed to sound like it's from the hereafter, actually sounds like vintage Doordarshan calendar advertising. Kalidas is also made to mumble sentences that are just necessary for the plot and lack any sense of humour or individuality. The only game left is recognising the other actors based solely on their voices because this prevents you from caring about these characters in any way.
Listening to Prithviraj portray a retired gunda named Hari Bhai is the most enjoyable of these. Because Kaapa by Shaji Kailas is still so vivid in our minds, I found myself picturing a world in which Kalidas from Alone and Kotta Madhu, the gangster played by Prithviraj in Kaapa, collaborated on a movie. Let's save that nightmare for another day, though.
You actually sense the lack of effort put out, which is why you react so strongly to it. It seems as though they decided that Mohanlal's closeups and acting style would be sufficient to keep our interest for two hours. We zoom in on the star's eyes in one image so closely that it appears embarrassed. He is viewed from several angles, including the floor, the roof, the back, and in between his legs. You get the impression that Shaji Kailas continues to think that movies are an exhibition of the strangest camera angles. One nauseating drone shot that swiftly transports you from the road, through the gate, and inside the structure is included in this. Numerous ludicrous views that are purposefully wobbly or titled are also given to us in order to draw our attention to the filmmaking "style". This illustrates how the director overcompensates with intricate camera work and loud useless music in an attempt to hide the absence of new information.
The experience becomes even more agonizing when the issue of rationality comes up. What the ghost writes on one of the mirrors is one of the several hints that establishes the scope of the investigation. Not only is this knowledge crucial early on, but it also informs us to expect the paranormal in this movie. However, you find it incredibly foolish that the same spirit didn't merely write the message on the same mirror as it did previously when it utilizes stickers to reveal the investigation's most important clue later.
Your tolerance will be even more put to the test when the script is forced to include a child abuse angle. By this time, you're worn out, so when the movie tries even harder with one of those last-second shocks (like the secret agent reveal in the final moments of Aarattu), you've already checked out and left the room. Sadly, this facility is filled with nothing but monotony.
Note
When travelling from Coimbatore to Kerala during the epidemic lock-down, a guy by the name of Kalidas becomes trapped. This is a narrative piece.
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