Barroz Movie Review: No matter how much you try to undercut a project or ask audiences to keep their expectations in check, if you’re an artist with a proven track record, people will have high expectations. It’s only natural—and the only way to avoid it is to consistently produce subpar work. Therefore, it is natural for people to be excited Mohanlal’s directorial debutA towering figure in Indian cinema for over four decades and a long-standing icon of the Malayalam film industry, irrespective of genre. At the same time, his decision to debut with a children’s fantasy film, and that too in 3D with heavy visual effects, rather than a certain mass masala entertainment that attracts a large audience, is undeniably a bold choice. However, the Mohanlal film based on the treasure of Jijo Punnooz’s novel Burrows: Guardian of Digama is ambitious in terms of scope, but it is not good.
Focusing on Barroz, A ghost who has been guarding Da Gama’s treasure in Goa for 400 years, waiting for its rightful heir so that he can finally be relieved of his duties, the film begins with a voiceover narration by Malayalam megastar Mammootty. Mohanlal wastes no time in introducing the title character (played by himself) along with his voodoo doll friend. The introduction sequence, set in 1633 AD, briefly establishes the characters’ backstories and their motives, while showing Barrows fending off a band of robbers attempting to steal treasure.
The story then shifts to the present day where 13-year-old Isabella da Gama (Maya Rao West) arrives in Goa with her father, who is preparing to bid on the Gama Palace at an auction, intending to convert it into a casino. . Barrows soon discovers that Isabella is the rightful heir to the treasure he has protected for centuries. He starts trying to connect with her, informs her about the inheritance and convinces her to believe in the truth. However, their initial encounters are filled with misunderstandings, complicated things. Meanwhile, some others plot to steal the treasure and Burrows must ensure that their plans fail, which is his duty. The rest of the film follows the journey of Barrows and Isabella as they face their respective challenges.
Right from the start, Mohanlal creates the impression that his creativity knows no bounds and there are moments where he aims for visual marvels, such as the animated underwater song “Bambojia” and scenes featuring voodoo dolls. However, it is also clear from the start that he lacks a firm grasp of filmmaking, as Barrows unfolds as a series of disjointed scenes with no coherent rhythm or synergy. The story jumps from one poorly executed moment to another and even B Ajithkumar’s editing fails to save the disjointed storytelling.
While Santosh Raman’s art direction is superb and intricately detailed, often leaving audiences in awe of the visuals, unfortunately, this is one of the film’s few redeeming qualities. Barroz’s writing is so weak that no moment really stands out, with much of the material feeling like filler. Although only a handful of characters are shown, none, including Burroughs himself, are developed or their dynamics explored in any meaningful way.
Watch the trailer for Barroz here:
In pursuit of imaginative scenes, it seems that Mohanlal and his team ignored the need for a cohesive script to tie everything together. So, it’s no surprise that Jijo, who initially wrote Burroughs, distanced himself from the project, while reportedly saying that Mohanlal and TK Rajeev Kumar, credited as creative heads, reshaped the story and screenplay. While the dialogues occasionally rise above mediocrity, they fail to sync with the dull scenes, making the two elements feel like they belong in completely different projects.
Although it is refreshing to see Mohanlal stepping out of his comfort zone and showing his undeniable screen presence, the weak writing leaves little room for him to shine as an actor and his amateur direction only spoils the film’s issues, which could have been bolder. Use it on missed opportunities.
While Santosh Sivan’s cinematography is impressive at times and the makers have used 3D effectively to deliver a decent viewing experience, the lack of emotional depth in the story prevents these elements from being truly enjoyable. Moreover, subpar performances by most of the actors only add to the frustration, leaving the audience agitated. The film also ventures into problematic territory by reinforcing harmful stereotypes, associating tribals with black magic and portraying them as antagonists, which is both reductive and insensitive. Although the music and its placement are well done, Mohanlal sometimes overuses it, which can be rather off-putting.
Barroz is undoubtedly a film designed for real children and children in every adult. While it may fascinate children who are just beginning to explore the wonders of the world and distinguish shapes and objects, it’s unrealistic to expect older children to be equally enthralled by what Barrows has to offer—especially in an age where they have instant access to so many imaginative things. and engaging content from around the world.
After the Mohanlal-starrer Udayannu Tharam in 2005, “Superstar” Saroj Kumar (Srinivasan), after another big box office hit, tells his associate Pachalam Bhasi (Jagathi Sreekumar), “I too know how to make a directed, produced film. And Acted by me.” Bhasi quickly replies, “Of all the things you just said, forget Disha – that’s something only intelligent people can do.” Although this is an exaggeration, direction requires some preparation, determination and dedication – qualities which, unfortunately, Mohanlal fails to display here. If he were to take on another project in the future, let’s hope he abandons his habit of approaching things without preparation, relying only on gut instinct and intuition, as these are not always the best approach.
Burroughs Movie Actors: Mohanlal, Maya Rao West, Ignacio Mateos, Caliroi Tziafetta, Cesar Llorente Ruton
Burroughs Film Director: Mohanlal
Barroz Movie Rating: 1 star
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