Siju Wilson plays Sanoj in this purpose-driven satirical story. From the very beginning, “Panchavalsara Padhathi” sheds light on the protagonist’s uncompromising anti-bribery moves. The content of the film, directed by PG Premlal, relies heavily on the hero to develop her influence through her agility in acting. In fact, Siju, with its clumsy gestures and structural language, doesn’t provide a solid aid to plot progression. The role actually demands a flexible protagonist, with much more elegance. and enthusiasm. Although the clash is well placed in the plot, Premlal struggles to take advantage of the other facets of the theme in the narrative. All in all, a sloppy attempt to take care of serious content is evident throughout the production.
Here, Premhal’s cinema lacks the know-how to keep things afloat. Also, Sajeev Pazhoor’s decent script can’t bring the film much life due to its apathetic direction and the insipid performances of the actors. “Panchavalsara Padhathi” is an ambitious attempt to create a satirical drama that exposes the devout and political antics of an organization of people. It’s hard to pinpoint inspirational moments in the film that blossom with costumes and beginnings, but without meaning.
The story follows the life of the settlement population in the village of Kalamberi, where they face shortages of water and other infrastructure. As a young man from the village, Sanoj is well aware of the lack of infrastructure in the colony and the accidents. The death of his friend’s mother triggers him to do anything for the colony. Sanoj meets the station’s owner Balan (PP Kunhikrishnan) with a clever plan that also leads him to the latter’s abandoned station near the mountainous terrain. Acting according to Sanoj: Balan’s plan was a success, as the rock near the station became a pilgrimage center and the statue of the god Kalambasuran was subsequently erected there.
With the growing popularity of the Kalamtrash statue, the site witnesses a significant influx of people from out of state and we see that there is no background of other people’s superstitious beliefs. This mastery of the plot evokes funny moments that reveal the satirical elements. The film also exposes the exploitation of other ordinary people through shrewd businessmen and Americans with vested interests. The bond between Sanoch and Shyni (Krishnendu A Menon) is gradually evolving, though it is less intense. Despite her colorless past, Shyni shows the courage to ask questions about her lover’s Aadhaar card to find out her age.
Meanwhile, Shyni and parish member Ambili (Nisha Sarang) misunderstand Sanoj because of his loyalty to the elite clique. The asymmetrical nature of the film extends to hand-to-hand combat in the climactic climax and the debates are not predictable. It is a satirical film editing political and devout antics, but the purpose is not achieved due to the mundane execution and craftsmanship.