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How do you pitch a commercial blockbuster (or, as we lovingly call it, a mass entertainer) to Kerala’s discerning audience? After all, this isn’t some less-privileged heartland where people are constantly reminded that the majority religion is under some imaginary threat. This isn’t the US of A, where homegrown superheroes and supervillains strut around in fantasy worlds. There aren’t any aliens or monsters dropping by, demanding a white savior. And yet, in Prithviraj Sukumaran’s L2: Empuraan, Kerala does need some saving. Not from creatures, but from something even more horrifying: fringe forces trying to destroy the state’s secular cultural fabric. With an idea so joyous and audacious to be attempted in the current era, I nearly spat my drink seeing a ‘Thank You’ note to actor-politician Suresh Gopi in the opening credits. I mean, what a crossover.
In this sequel to the 2018 mega-hit Lucifer, Kerala is on the brink of chaos as it gets swept up in a high-stakes political narrative. The commoners gaze up at their leaders like the peasants did to Baahubali. The opening sequence, set in the early 2000s, sees a zamindar-like woman (Nikhat Khan) provide refuge to a group of Muslims fleeing extremists. It is a lawless land, and the writer (Murali Gopy) preaches incessantly about India’s transition from monarchy and colonialism to whatever it is today. As witnessed in the prequel, the political parties and the setup showcased in Empuraan are crystal clear, including the sole genuine media house (NPTV). Also, you do not need Einstein’s IQ to know which political figure Baba Bajrangi (Abhimanyu Singh) is modeled after.
Among the primary figures, political dynast Jathin Ramdas (Tovino Thomas) is seen to have landed the job of Chief Minister in his 30s. Not free of corruption charges, our man is now a pawn to conspiracies and is no longer on good terms with his sister, Priyadarshini (Manju Warrier). Her contribution to politics is as significant as Shweta Bachchan’s to cinema. Yet, you will still find her awkwardly delivering speeches written by her Columbia-aspirant daughter, Jhanvi (Saniya Iyyappan). However, similar to her brother in Lucifer, Priyadarshini walks away with the film’s biggest crowd-pleasing moment. With Baiju and Aneesh G. Menon adding their commentary, this explosive sequence alone is worth the price of admission.
Oh, wait, you have not even heard about the leading man yet. Even Empuraan keeps him waiting in the wings for about an hour, just like Lucifer did. Ironically, this is a film that does not even need him to show up physically. The mere mention that Mohanlal’s Stephen Nedumpally, also known as Khureshi-Ab’raam, is lurking somewhere is enough to fuel three more sequels. After multiple mini-introductions, teases, slow-motion glances, and Malayalam-tinged Hindi dialogues, the man finally makes a rock-solid entry (in a dhoti) to rescue Priyadarshini.
Murali Gopy famously loves his philosophies and religious references, and Empuraan is no exception. In a Ramayana-inspired scene, Priyadarshini finds herself in what looks like Ashok Vatika, except it is oddly right next to an urban area with vague mentions of Maoists lurking around. Am I overthinking this, or is there an uncanny parallel between Kerala’s Wayanad constituency and its newly elected MP, Priyanka Gandhi? Anyway, back to the scene. It unfolds with Priyadarshini receiving a warning from a Lakshman-like figure, there’s the presence of a Hanuman, and finally, the grand arrival of her Lord Ram equivalent, Stephen. There is plenty of Agni (fire) in the scene, but thankfully, no pariksha (trial by fire). Instead, Priyadarshini somehow woke up wiser and smarter overnight, all thanks to our hero’s pep talk and a conveniently delivered folder.
Prithviraj’s leading man is the very definition of mystery, no matter what language you speak. He strides through every possible geography in climate-inappropriate outfits, from France and the United Kingdom to Senegal and Iraq. I eventually gave up counting. Honestly, knowing Stephen/Khureshi is of Indian nationality, I was far more curious about his visa status. You cannot just hop on international flights because you have a bone to pick with a cartel named by a random word generator.
The plot itself is a tangled mess, attempting to tackle India’s thriving communalism, family dynamics, dynasty politics, spy operations, drug syndicates, dam construction, violence against women, religion, hackers, media, and probably a dozen other issues I missed while trying to keep up. The lines are so overwritten that you get a paragraph where a single line would have sufficed. At 179 minutes, the film feels overlong, with multiple parallel tracks and far too many characters to invest in. Additionally, with so much happening, place, timeline, and connections become mere afterthoughts.
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Empuraan worships Stephen like a deity, which is fine, but Prithviraj would like the man’s name tattooed on the film’s forehead. The letter “L” is shoved in our faces so aggressively that it feels like a commercial for a driving school. We get it. Mohanlal equals Lucifer. Move on. Stephen, of course, refuses to talk like a normal human being. He either sounds like a Jay Shetty-style YouTube guru or like Murali Gopy delivering a monologue to himself in the mirror. Stephen’s chat with Father Nedumpally (Fazil) completely flew over my head. “You are a weapon in the hands of those you fight against.” Didn’t the leading man and the director unintentionally spit a truth bomb about themselves here?
Okay, let me set the sarcasm aside and give Prithviraj credit where it is due. Firstly, for expanding Empuraan into a potential mini-universe, with himself now stepping in as the key character Zayed Masood. At this rate, I wouldn’t be surprised if Priyadarshini gets her spin-off focused solely on Kerala’s politics because why not? Secondly, for making a statement against rising communalism and Islamophobia in India. Like the actor’s own Jana Gana Mana from 2022, the material is far from perfect, but sometimes the intent carries some weight. Empuraan is that kind of film.
There is less to complain about on the entertainment front. Sujith Vaassudev’s cinematography gives the film a scale rarely seen in Malayalam cinema. The art direction (Mohandas) and action choreography (Stunt Silva) are some of the most well-crafted in the subgenre in recent times. Unlike the out-of-place item number in Lucifer, Prithviraj wraps up Empuraan with a fiery Usha Uthup banger. Deepak Dev’s original score aligns well with the film’s mood, with the Empurane refrain in the background score making an impact, presumably sung by the filmmaker’s daughter, Alankrita Menon Prithviraj.
The actors do a decent job, but like Mohanlal’s titular character, Empuraan does not demand much actual performance. Big names like Prithviraj and Tovino Thomas look hot in their dreamboat physiques and strapping wardrobes. Well, that is about it. Manju Warrier and Karthikeya Dev (as young Zayed) deliver in the rare moments that require acting chops. Abhimanyu Singh, as the chief villain, checks every box of textbook villainy. A capable actor, this might be the easiest role of his career – a vile right-wing extremist who unconditionally loves his Munna (little brother). Suraj Venjaramoodu, as a Malayali troll-politician, gets a few laugh-out-loud moments, with the Hindi Visharad joke bound to hit Kerala-bound Hindi teachers hard.
Andrea Tivadar, the runway-ready Agent Michele, and BAFTA-nominee Jerome Flynn are saddled with the least compelling subplot. Even Indrajith Sukumaran, despite ample screentime and great efforts, adds little to the story. Fazil and Kishore Kumar G. leave a mark in their brief yet significant roles.
Empuraan marks Prithviraj’s third directorial venture, and it is evident that he has the makings of a strong storyteller. The problem is that it lacks cohesion. While some may find order within chaos, there are moments when compelling images get lost in the clutter. Empuraan does not entirely succumb to this, but a more focused and unpretentious screenplay could have elevated this constantly engaging and intermittently thrilling Mohanlal-led spectacle.
Rating: ★★★
