Everything I noticed in Empuraan that made me love Lucifer even more!

I watched the sequel, sorry, second part of Prithviraj and Murali Gopi’s trilogy; L2: Empuraan and keeping the infamous three-minute scene aside, here's what failed to meet my expectations.

You wouldn’t expect anything less from a movie with an influential actor at the front and centre of it, one whose fans love arguing about why he is the best, and likely so. Expectations were high, especially since it was marketed as the most expensive movie to come out of Malayalam cinema. Prithviraj Sukumaran and Murali Gopi’s much-anticipated film, L2: Empuraan, was released last week and has been generating buzz since. Upon entering the theater, viewers are treated to a high-octane visual spectacle with elements that feel quite foreign to traditional Malayalam cinema. The movie certainly has moments worth celebrating, showcasing the power and charisma of actors like Mohanlal, Prithviraj, and Manju Warrier. But all I could focus on was the Telugufication of Lucifer. Is it a pan-Indian film like the makers suggested it to be? I have my doubts. 

As a Malayalee, Empuraan felt like a significant cultural celebration to watch Mohanlal and Manju Warrier perform on the big screen with my entire family. Most of the hype for this film also came from knowing how good its predecessor was. The expectations that Lucifer set were also the reason for my disappointment in certain moments in Empuraan. Lucifer was exactly what it promised to be: a mass Malayalam film focused on politics and the intricacies of Kerala. It beautifully captured subtleties while delivering larger-than-life moments, celebrating its actors and providing fans with what they crave. While the filmmakers claimed Empuraan would be a pan-Indian film following the trend of other big-budget projects from the South Indian film industry in the past year, I would argue otherwise. If anything, it felt like just another high-budget film crafted for the Malayalee audience who adore these actors. The real factor that keeps you seated throughout this film, which makes you beg for earplugs, is witnessing the aura that these actors radiate through their characters. It is so prevalent that you hardly notice or even care about the international cameos, which had little to no impact, undermining the claim of it being a "global film".

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While we expected to know more about Stephen's alter ego, Khureshi Ab'raam, we can agree that his presence was nothing compared to that of Stephen Nedumpally. If anything, Ab'raam seemed like an alter ego of Mohanlal’s infamous character Sagar Alias Jacky. With his leather jacket and expensive sunglasses, the entry fell flat. However, his return as Stephen managed to capture what was missed in his first entry. You believe that when his re-entry as Stephen, in his element, fighting goons in a mundu while the director captures his classic madiki kuttu (tying his mundu) that had the entire theater whistling and hooting. What also made Lucifer so engaging was its grounded nature. Every moment of high-octane fight sequences was balanced with mellow moments. Each time we witnessed Stephen's giant persona, we were shown a softer side of him, giving us more reasons to love him. While Ab'raam's storyline is about a global underworld kingpin running an international nexus, I needed those quiet, thoughtful moments as a contrast to the loud weapon fights. One aspect to appreciate is how, despite the majestic visuals, many of these scenes feel more realistic in comparison to all the other big-budget movies we have seen.

It was well established that Stephen walks into the frame and commands attention, also delivering impressive one-liners that went on to become hits. Unfortunately, every time Ab'raam spoke, though impactful, it required deciphering. We also could have done without the very obvious 'L'. For a character who is well established as Lucifer, I don’t think we needed constant reminders of his presence. The upside-down cross and “Death to the devil” were enough to excite every fan, but repeating these elements too often diminished their impact. While we appreciate Prithvi’s vision, it became a little redundant after a point. One arc that definitely hit the mark and delivered was that of Manju Warrier’s Priyadarshini. A force of her own, her arc couldn’t be any better, allowing her to embody Warrier’s superstar title in real life. She demonstrated that there is no other actor who can win an aura fight with Mohanlal on screen.

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Ironically, the part of the film that felt like a bold statement needing attention, especially in today's context, was its political dimension. However, starting today, people will only get to watch a censored version of this movie because some scenes upset a group by depicting visuals of events that are deeply entwined with our political reality. That's also what you would imagine to come out of a writer like Murali Gopi, who is known for his ideologies, using his art to call out leaders in power. The film openly critiques the current political scenario in Kerala, highlighting the leaders eager to benefit from it, which is truly commendable. From a very graphic visual reminder of a prominent atrocity that India experienced in 2002, to name the antagonist and political leader 'Bajrangi' to even calling out the Chief Minister, the film has done it all. 

It's not common to see a big-budget film featuring a prominent actor address the very real and obvious political scenarios in India today. However, you might anticipate that, similar to recent events, this could lead to calls for bans or even demands for individuals being imprisoned. And like on cue, the makers have been receiving backlash where people are claiming this to be a 'propaganda film' and labelling producer Supriya Menon as an 'urban naxal'. With the continued protest, the makers have decided to release a new version with 'voluntary cuts' by removing a three-minute-long sequence and even muting the name. 

What is art if not a means to confront the world as it truly is? It seems like films that accurately portray the realities of our society will always face scrutiny, often leading to unnecessary restrictions. This happens even as we struggle to deal with pressing issues that demand our attention. I fear that such challenges may ultimately hinder the progress of art in our country. Without a doubt, Empuraan has managed to catch attention across the country, either for its larger-than-life appeal or its political themes.

What are your thoughts on Empuraan? Let us know in the comments below.