‘Hridayapoorvam movie review’: Mohanlal shines in a light-hearted entertainer that stretches a thin plot to its limits

The want to transfer out of their consolation zone ceases to be a necessity for filmmakers after they discover success with their favorite tropes. That has been the case with Sathyan Anthikad for over 4 a long time. Even because the movie trade modified round him in unrecognisable methods, and regardless of a few slumps, he continued to have some degree of success along with his signature model. Anthikad’s earlier movie, Makal (2022)— which additionally handled the tried-and-tested — had a conservative protagonist who struggled to perceive the mindset of his teenage daughter.

But, in Hridayapoorvam, one finds a filmmaker who has a clear intent to join higher with a youthful era, with out, after all, letting go of his household viewers. The casting of a few in style on-line content material creators, an odd match in the Anthikad world, though an trade pattern, is just not a coincidence. One also can discover the affect of his sons, Anoop Sathyan, the affiliate director, and Akhil Sathyan, who penned the story, in how he has approached the scenes.

Every idea has a limit. However, in Hridayapoorvam, one witnesses novel ways in which an idea can be stretched to extract and exhaust all its myriad possibilities. It all rests on the old fascination in fiction towards heart donations, and the residual affinities that the close relatives might have to the donated heart. Sandeep Balakrishnan (Mohanlal) visits the family of his heart donor in Pune, on the occasion of the latter’s daughter Haritha (Malavika Mohanan)‘s engagement. Some unforeseen circumstances force him to extend his stay, leading to further complications.

The film, for most of its runtime, is marked by light humour, aided by the striking chemistry between Mohanlal and Sangeeth Prathap. Even in parts where another filmmaker might have taken a detour to explore more weightier aspects of the subject at hand, Anthikad hardly strays away from the humourous rhythm he hits early on.

This extra careful approach, in a way, helps the film steer clear of uncomfortable discussions, which could have possibly pulled the film down. Even when the film almost deals with such subjects, it does it with a delicate touch that would gently rock the boat. Despite these minor turns in the plot, there is never a doubt in our minds as to how the film would pan out in the end, for it plays by the rules of the comfort zone.

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With variations of the fundamental concept at play, Hridayapoorvam considerably loses its steam in its latter half. The screenwriter resorts to some conveniences, particularly when it comes to the character of Nishan, who performs Haritha’s fiancé. Ample display screen house, virtually on par with that of Mohanlal, is supplied for Sangeeth and Malavika, who each handle to pull off what was required of them, though the portion involving Siddique because the scheming brother-in-law belongs to the yesteryear Anthikad world. Mohanlal continues his current spurt of fine type, carrying a movie with hardly any main battle, apart from the imagined ones, on his shoulders.

With Hridayapoorvam, Sathyan Anthikad crafts a light-hearted entertainer by stretching a thin plotline and extracting all of the attainable laughs out of it.