Devadoothan Movie Review: Nearly 24 years after its initial release and box office failure, I finally sat down to experience the digitally remastered 4K version of director Sibi Malayil’s Devadoothan. After the newly-created title cards appeared, accompanied by the sounds of musical instruments being tuned and Mohanlal’s voice giving cues in the background, the sound of a cello filled the hall.
Suddenly, an artist began playing a piece on a flute — a heavenly melody perfect for a journey to a world far away. Then appeared Mohanlal, a bearded, spectacled, and elegant figure — the composer and conductor here — signaling the start of the musical masterpiece “Entharo Mahanubhaavalu,” a remixed version of the Tyagaraja song crafted by Vidyasagar. As I soaked in the music, which I had only ever heard on smaller speakers and headphones, a chill ran down my spine — the kind of spine-tingling sensation that tells me I’m about to experience something magical.
Vishal Krishnamoorthy (Mohanlal), set to receive a prestigious global award for his symphony “Rhythm of Love,” opens up to the media about an invisible force that guides him and has shaped who he is today. He describes this energy as “the king of music who kept the glow of symphony in his eyes.” Looking at a portrait of an instrument called “Seven Bells,” Vishal recalls when he returned to his alma mater Holy Father College to direct a musical play.
Vishal had been expelled from this college for allegedly playing the Seven Bells, kept safe and secure in the chapel by the institute’s owner Angelina Ignatius (Jaya Prada). Despite his talent as a composer, Vishal’s career never flourished after this expulsion. However, as if the college — or rather, a force within — wanted him to return, the students and the principal stumble upon his name while considering potential directors for their play.
Upon his return, a series of inexplicable events begin to unfold. Just as he claimed when he was expelled — that he did not play the instrument, but that it played itself — we see music emanating from the Seven Bells on their own. Vishal soon realizes that his return is influenced by a force that “wants to say something to someone.” In his quest to uncover the truth, Vishal learns that Angelina aka Aleena is unmarried and has been awaiting her lover Maheshwar (Vineeth Kumar) for 30 years.
Maheshwar had left, promising to return after getting blessings from his family in Agra for their marriage. Aleena has lived in the memory of her love for him ever since. But what is this mysterious force and how is it connected to Aleena and Maheshwar? Why is it compelling Vishal to uncover secrets he never intended to reveal? The answers to these questions form the remainder of the movie.
One of the rare Malayalam movies from the late ’90s and early 2000s that has aged well, Devadoothan’s narrative and technical aspects remain fresh even today. With its roots in emotions, love, and drama, Devadoothan’s aesthetics and technical quality are still impressive. Its biggest strength is that almost everyone associated with it brought their A-game for the movie and poured their heart and soul into it, creating a timeless musical horror.
Although director Sibi Malayil is known for classics like Thaniyavarthanam, Kireedam, Dasharatham, Bharatham, Sadayam, and Chenkol, Devadoothan is unique. While his films typically feature earthy, realistic visuals, he chose a different approach for Devadoothan, which is in tune with its tone, giving it a heavenly feel. Except for a few scenes, such as the drama rehearsals, most shots feature only a limited number of characters, enhancing the eerie atmosphere and the isolation the lead characters experience. At the same time, the rich and intricately composed frames add to the film’s beauty.
Unfortunately, Devadoothan was one of the last two films (the other being Kakkakuyil) in which the actor in Mohanlal hadn’t yet been overpowered by the star, despite appearing in movies like Aaraam Thampuran, Ustaad and Narasimham. Though already the biggest superstar of the era in the industry, the fact that he took on a character like Vishal — so powerless and led on by a supernatural force, almost like a puppet in the hands of a spirit — showed how willing he was to experiment back then, before Ravanaprabhu (2001) and his shift towards formulaic, male chauvinistic films that offered little beyond a mustachioed hero draped in a mundu, delivering bombastic dialogues.
Nevertheless, his portrayal here, balancing the skills of a composer and a man responding to an undefinable force, is brilliant. Jaya Prada’s performance as Aleena is also majestic, and I can’t think of anyone who could have been a better fit for Maheshwar than Vineeth Kumar, special thanks to his sparkling eyes. Murali’s pitch-perfect performance as the mysterious Alberto remains just as haunting as it was back then.
“For someone to wait 30 years for their love, their partner must have had something truly magical to leave a lasting impression on their heart,” Vishal says and the answer here is music. Maheshwar’s incredible musical prowess, as written by Raghunath Paleri in his remarkable script, transcended all limits. Despite being an ordinary man with visual impairment, Maheshwar expresses his love for Aleena, the daughter of a wealthy man, through his angelic music, winning her heart forever. While this might have been easy for Raghunath to write, creating such tracks was no simple task. However, composer Vidyasagar took on this herculean challenge and delivered music beyond expectations.
Upon hearing the track “Karale Nin Kai Pidichal,” created by Maheshwar, it’s easy to comprehend why Aleena waited for him. In the lyrics, penned by Kaithapram Damodaran Namboothiri, Maheshwar tells Aleena, “I give you my music till I return,” to which she replies in the next stanza, “I give you my heart till you return.” Thus, Vidyasagar delivered yet another exceptional piece for the movie, further enhanced by Kaithapram’s lyrics. At the same time, Vidyasagar’s background score, with its touch of mystique and occasional creepiness, elevates the movie to a new level.
Devadoothan : A Timeless Classic Revisited
Santosh Thundiyil’s remarkable cinematography is another reason why Devadoothan remains extraordinary. The composition and depth of each frame are both plush and minimal, and the way he has captured the landscape is inimitable. The art direction by Muthuraj and Girish Menon, makeup by CV Sudevan and Salim (for Mohanlal), and costume design by SB Sateeshan and Murali (for Mohanlal) also warrant special commendation.
While the film evoked the same emotions and feelings I experience every time I watch Devadoothan — with this viewing being especially memorable as I heard “Maheshwar’s heartbeats rising as music from the Seven Bells” in the exact way it was intended to be experienced — the latest remastered version falters only due to the injudicious removal of many scenes from the original print. While it’s clear that the makers intended to turn it into more of a genre film by cutting out ‘unnecessary’ moments, especially comedic ones, these scenes contained small details that together built the background and foundation of Devadoothan.
For instance, Vishal mentions that his life was ruined after his expulsion. The original version shows him in ruins, but the remastered version omits it, which diminishes our understanding of his struggles. Also, while the editing out of scenes featuring Jagathy Sreekumar to reduce comedy had some benefits, it also removed valuable information about the play being rehearsed by the students and how it ultimately intertwined with Aleena and Maheshwar’s story. If the makers, especially director Sibi, had been more thoughtful, the film would not have felt so incomplete.