Mohanlal's Barroz: A 3D Dream That Turns into a Drowsy Reality
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Barroz story: Assigned with the responsibility of safeguarding the treasure of Da Gama, Barroz remains in a chamber for centuries, awaiting the return of his master or his heir to honour their promise. After nearly five hundred years, this moment arrives in the form of Isabella, yet her arrival brings forth challenges that compel Barroz to fulfil his duty one final time.
Barroz review: For children, fairy tales infuse their lives with enchantment, making them beloved choices for bedtime stories, while adults support this tradition as it aids in lulling children to sleep. Mohanlal’s directorial debut, Barroz, aims to achieve a similar effect, albeit without the enchanting elements typically found in storytelling.
The film draws inspiration from a Portuguese folktale featuring a ghost who is bound by duty and loyalty to safeguard his master's treasure, continuing this obligation long after his master's demise. The narrative centres on Barroz (Mohanlal), who finally encounters an opportunity to liberate himself from this vow when the heir of Cristiano Da Gama arrives in Goa. However, her arrival brings forth a series of challenges and realizations for Barroz, compelling him to adapt to a transformed world, establish new relationships, and confront past adversaries.
While the fundamental storyline possesses the essential components of an engaging fantasy tale, a poorly crafted screenplay cannot be redeemed merely by categorizing it as a children's film, Barroz exemplifies this issue, as it indulges in excessive self-importance, with each scene prolonged to the point of causing viewer restlessness. The creators consistently provide overly detailed explanations, breaking down the narrative to such an extent that it becomes tiresome, even for a young audience.
One might hope that the editor, B Ajithkumar, would have heeded the advice given by Voodoo, Barroz’s sidekick, in the film — to eliminate the unnecessary drama and get to the point. For a children's film, Barroz, with a runtime of 154 minutes, is excessively lengthy by at least 54 minutes. It is disappointing to note that the film could have been significantly streamlined, resulting in a more engaging experience. For instance, there is a scene where Barroz attempts to pass his set of keys to Isabella, which drags on interminably, testing the viewers' patience.
Furthermore, Barroz lacks a sense of enjoyment. A few sequences, such as the animated underwater song and the moment where Barroz assists Isabella in singing, stand out as the film's highlights. The theme of a false sense of loyalty is an interesting element, yet it remains underdeveloped, much like the relationship between the two main characters. Voodoo, the puppet companion, fails to resonate as strongly as Faby from the 1993 Malayalam film O’Faby. He primarily serves as a narrator, repetitively uttering "Mahagaga," which comes off more as "Mahalaga," devoid of any humour.
The artistic contributions of Santosh Raman’s department are evident, particularly in the treasure chamber, which serves as a significant setting for the film. However, Santosh Sivan’s cinematography, aside from a few notable scenes, does not meet expectations, especially for a 3D production. The musical score by Mark Killian and the songs by Lydian Nadhaswaram may appeal to younger audiences. One particular track, where Barroz assists Isabella, could have had a greater impact if performed by a different vocalist rather than Mohanlal.
In terms of performance, Mohanlal does not significantly enhance Barroz's character. He adopts a straightforward approach, likely to emphasize that the true protagonist of the film is the 13-year-old Isabella (Maya Rao West), rather than the treasure-guarding ghost. This choice ultimately detracts from the film's overall impact. Even seasoned actors like Guru Somasundaram are given roles that may elicit discomfort. For a children’s film intended to be entertaining, a higher level of slapstick comedy from the cast would have been beneficial to elicit laughter. However, Barroz finds itself in a precarious position, lingering too long in this indecisive space.
Have the creators of Barroz exerted more effort than My Dear Kuttichaathan? Yes. But does it surpass My Dear Kuttichaathan in quality? No, Faby.
Barroz verdict: Will Mohanlal’s directorial debut provide an enjoyable experience for children in theatres? Perhaps not, as the film adopts a serious tone, and the uninspired screenplay does not contribute positively. Nevertheless, the creators have made a genuine attempt to present something unique and have ensured that their efforts are visible on screen. If a significant portion of the material had been omitted during editing, the film might have fared better.
