Abhyanthara Kuttavaali Movie Review: A Well-Intentioned but Flawed Men’s Rights Drama
Abhyanthara Kuttavaali (2025), a Malayalam comedy-drama directed by debutant Sethunath Padmakumar, ambitiously tackles the contentious issue of the misuse of Section 498A of the Indian Penal Code, a law designed to protect women from domestic abuse and dowry harassment. Released on June 6, 2025, and produced by Naisam Salam under Naisam Salam Productions, the film stars Asif Ali as Sahadevan, a man ensnared in a legal battle over false accusations, alongside Jagadish, Harisree Ashokan, Sidharth Bharathan, Thulasi, and Azees Nedumangad. With a runtime of 125 minutes, the film blends courtroom drama, social commentary, and light humor but stumbles due to its one-sided perspective, weak screenplay, and lack of narrative depth. Review delves into its intentions, execution, and mixed reception, offering a critical lens for Malayalam cinema enthusiasts.
The story centers on Sahadevan (Asif Ali), a temporary government worker whose idyllic marriage to Nayana (Thulasi) crumbles after she abruptly leaves him, filing false domestic violence and dowry harassment charges under Section 498A. The narrative unfolds in a family courtroom, where Sahadevan fights to clear his name, revealing a broader commentary on men victimized by legal misuse. To underscore this, the film introduces parallel stories: Peter (Sidharth Bharathan), branded unstable by his wife to deny him access to their child, and Makarikka (Harisree Ashokan), sued by his greedy daughter-in-law after his son’s death. These cases aim to highlight a systemic issue across communities, but the film’s heavy-handed approach oversimplifies a complex topic, sidelining women’s perspectives and veering into regressive territory.
Asif Ali delivers a compelling performance as Sahadevan, balancing earnestness and frustration with subtlety. His courtroom monologues, though preachy, showcase his ability to emote convincingly, making Sahadevan a relatable everyman. Sidharth Bharathan stands out as Peter, his poignant dialogue about divorce’s impact on children being a rare emotional high point. Harisree Ashokan and Jagadish, as a manipulative lawyer, bring levity, though their roles feel like narrative devices rather than fully fleshed-out characters. Thulasi’s Nayana and other female characters, including Rukmini as another lead, are underwritten, often portrayed as caricatured antagonists, which undermines the film’s credibility. Azees Nedumangad and Anand Manmadhan add humor, but their early comedic scenes feel forced and disconnected from the central plot.
Sethunath Padmakumar’s direction shows promise in its intent but falters in execution. Ajay David Kachappilly’s cinematography captures Kerala’s urban and courtroom settings with clarity, though the visuals lack the finesse to elevate the drama. Sobin K Soman’s editing keeps the pacing brisk, but the 125-minute runtime feels bloated with unnecessary subplots and repetitive courtroom scenes. Bijibal’s musical score, with contributions from Muthu and Christy Joby, is functional but unmemorable, failing to enhance the emotional stakes. Rahul Raj’s background score adds some tension, but the film’s reliance on sentimental music, like in a scene where Sahadevan returns dowry gold, feels manipulative and misaligned with the narrative’s tone.
The screenplay, penned by Padmakumar, is the film’s weakest link. While it aims to address the misuse of Section 498A—a valid issue given documented cases of false complaints—its one-sided portrayal paints women as opportunistic, ignoring the law’s necessity for genuine victims. Sahadevan’s courtroom speeches, laden with statistics and Ramayana references, feel like a men’s rights manifesto, breaking the fourth wall in a way that alienates rather than engages. The film’s depiction of dowry, particularly a scene where Sahadevan’s refusal to share gold for Nayana’s education is framed as reasonable, exposes a lack of nuance.
Critical reviews echo this divide. The Hindu slams its biased storytelling, noting it treats the courtroom like a “men’s locker room”. Lensmen Reviews calls it a “wasted opportunity,” criticizing its lack of female perspective. OTTplay acknowledges its message that “not all women are good,” but admits the narrative lacks solidity. The film’s production faced legal hurdles, with a Supreme Court stay overturning a Kerala High Court ban due to financial disputes, adding to its controversial journey. Box office figures are modest, with its niche topic and lack of star-driven spectacle limiting mass appeal, though it resonates in urban centers like Kochi.
Abhyanthara Kuttavaali is a bold attempt to spark conversation about a sensitive issue but falters in its execution. Its intent to highlight men’s struggles is valid, yet its caricatured villains and lack of balance undermine its message. Asif Ali’s performance and fleeting emotional moments offer redemption, but the preachy tone and weak writing make it a tedious watch. For audiences seeking thought-provoking Malayalam drama, it’s a film with a strong concept but disappointing delivery, better suited for those curious about legal dramas than expecting nuanced storytelling. A tighter script and balanced perspective could have made it a compelling addition to the genre.
Rating: 2/5