As director Blessy’s survival drama Aadujeevitham (The Goat Life) gears up for its release on March 28, expectations for the film are soaring. The promotional materials released so far suggest that it will offer an exceptional cinematic experience and will be a faithful adaptation of one of Malayalam’s most compelling survival tales. Yet, despite the impressive lineup of skilled technicians, including composer AR Rahman and sound designer Resul Pookutty, all attention is rightly focused on actor Prithviraj Sukumaran to see how convincingly he portrays Najeeb Muhammad, the real-life person on whose experiences writer Benyamin’s 2008 novel is based.
For Prithviraj, Aadujeevitham is the most challenging role he has taken on thus far, not just due to the necessity of undergoing significant physical transformations multiple times, but primarily because Najeeb’s character lies far beyond his usual comfort zone. Najeeb embodies emotions and life experiences entirely distinct from any previous role Prithviraj has undertaken and experienced in real life, thus making Aadujeevitham the most significant film in his career.
At the same time, for the actor, whose performances have always been met with polarised responses, Aadujeevitham is also probably a once-in-a-lifetime opportunity to finally showcase his versatility beyond the roles for which he is known — muscular and macho characters who appear perpetually tense and intense, with a rigid demeanour, seeming emotionless on the surface, and delivering all lines in the same cold manner. For starters, Najeeb is a vulnerable man with no superhuman capabilities, hailing from a rural area in Kerala with no privileges whatsoever, and the novel/movie explores only a certain period in his life that spans almost three and a half years when he was thrust into slavery in a Saudi Arabian goat farm. (Assuming that the film won’t deviate significantly from the base material) There will be no action sequences, punch dialogues, or other heroic moments that are usually employed to pander to the stardom and fandom of an A-lister actor.
On the bright side, the movie will extensively explore the lengths and breadths of Prithviraj as an actor and provide him with ample opportunities to exhibit how well he can handle characters with complex emotions as Najeeb, who went on an emotional roller coaster, often torn between resilience and surrender.
The ‘Prithviraj template’
Since the beginning of his career, Prithviraj has un/intentionally gravitated towards characters fitting the archetype of muscular, cold men and his occasional forays into roles rich with emotion have frequently fallen short of recognition or failed, due to his limitations as an actor, notably his struggle to effectively convey deep feelings. Many of his performances, even those depicting characters facing significant life challenges, have exhibited striking similarities in body language and demeanour.
As a definitive product of nepotism, Prithviraj entered the film industry solely because of his surname, Sukumaran, inherited from his father, who was part of Malayalam cinema’s then-superstar trio in the 80s, predating the era of Mammootty and Mohanlal. As horrendous as the movie was (and a box office flop too), his first released film, Rajasenan’s Nakshathrakkannulla Rajakumaran Avanundoru Rajakumari (2002), also exposed his inadequacy in comedy. However, Prithviraj found his footing with the release of his second film, AK Sajan’s Stop Violence (2002), which also marked the inception of what would become the ‘Prithviraj template’ characterised by the aforementioned ultramacho, cold traits, as seen in his portrayal of the ruthless gangster Saathaan.
Prithviraj Sukumaran in Nandanam, the first film that he acted in. (Image: API Malayalam Movies/YT)
Although Ranjith’s Nandanam (2002), the first film that Prithviraj acted in which was unfortunately released only after NRAR and Stop Violence, achieved success and explored the actor in him in a better, more nuanced, way, the perception that he was better suited for roles like Saathaan had already taken hold. And, filmmakers began approaching him with similar characters, albeit with minimal variations primarily in their socio-economic or geographical backgrounds.
The new ‘angry young man’ in town
Thus, as his contemporaries like Kunchacko Boban and Jayasurya mainly focused on romantic and comedic roles, and his brother Indrajith Sukumaran, despite tackling a variety of characters, did not receive the break he deserved, Prithviraj was crowned the unofficial ‘angry young man’ of Malayalam cinema in the 2000s. His subsequent films such as Meerayude Dukhavum Muthuvinte Swapnavum, Chakram, Vellinakshatram, Sathyam, Krithyam and Police underscored the same. However, movies like Vellithira and Swapnakoodu offered him some relief as they featured better romantic and comedic scenes, subtly pushing his boundaries without making it seem forced. Santosh Sivan’s Ananthabhadram, on the other hand, garnered him more recognition as he rivalled a seasoned actor like Manoj K Jayan in the latter’s career-best performance.
Prithviraj Sukumaran in Sathyam. (Image: Central Talkies/YT)
In 2006, his position in the industry was further solidified, and the ‘Prithviraj template’ began getting normalised, earning him more praise, recognition and better revenue at the box office. In that one year, at the age of 24, he delivered three remarkable performances, in characters that seemed tailor-made for him aligning perfectly with his abilities and limitations. Lal Jose’s Classmates emerged as one of the biggest hits of the decade, while Prithviraj earned his first Kerala State Film Award for Best Actor for his portrayal in M Padmakumar’s Vaasthavam. Despite Padmakumar’s other film Vargam not achieving notable acclaim, Prithviraj’s performance as a ruthless, corrupt cop with several shades of grey marked a significant milestone in his acting career.
Attempts at romantic, comedic roles
Simultaneously, the actor also ventured into the Tamil industry, where he found roles distinctly different from those in Malayalam cinema, portraying romantic hero characters with comedic moments. While Malayalam films like Avan Chandiyude Makan and Chocolate pigeonholed him into the ‘angry young man’ archetype, and occasional distinct roles like the ones in Kangaroo and One Way Ticket failed to yield significant results, his performances in Tamil films like Parijatham, Mozhi and Abhiyum Naanum endeared him to audiences there as the chocolate boy next door. Despite this success, the crowded Tamil industry limited his opportunities, prompting him to wisely avoid overstaying his welcome.
By then, the ‘Prithviraj template’ had become so ingrained that his characters began to appear eerily indistinguishable, with only variances in attire setting them apart in Nammal Thammil, Puthiya Mukham, Robin Hood, Thanthonni and Pokkiri Raja; and, Amal Neerad’s Anwar (2010) epitomised this template.
Downfall
Meanwhile, known for his introverted yet outspoken nature, his candid remarks in interviews around that time garnered him infamy as he made several remarks deemed “irreverent”. This led many to draw parallels between his on-screen characters and his real-life persona, concluding that he had merely been playing himself until then.
Despite his decent improvement as an actor in 2011, showcased in diverse roles in films like Urumi, City of God, Manikiakkallu, Veettilekulla Vazhi and Indian Rupee, his perceived “arrogance” hindered him from receiving the recognition he deserved, though a couple of the films enjoyed success at the box office.
Prithviraj Sukumaran as Kaduvakunnel Kuriyachan in Shaji Kailas’ in Kaduva. (Image: Prithviraj Sukumaran/Facebook)
Meanwhile, his role in Mani Ratnam’s Raavanan (2010) presented new opportunities for him and Prithviraj ventured into Bollywood with Aiyyaa (2012), although his stint there was brief at the time. Concurrently, his film choices in Malayalam cinema were on the decline, leading many to cynically suggest it was a form of “payback” for his “arrogance”.
Ayalum Njanum Thammil
However, Prithviraj staged a remarkable comeback towards the end of 2012, stunning audiences with his exceptional performance in Lal Jose’s medical drama Ayalum Njanum Thammil which proved he was more than just muscles. With remarkable finesse and captivating command, Prithviraj portrayed the intricate layers and emotional fluctuations of a cardiac surgeon with precision. He followed this success with three films in 2013, including Celluloid, which (along with Ayalum Njanum Thammil) earned him his second State Award for Best Actor. While his performances in Mumbai Police and Memories shared similarities, the brilliance of the films and the essence of the characters, again seemingly tailored for him, resonated deeply with audiences, garnering significant praise. Meanwhile, his performance in Kaaviya Thalaivan (2014) earned him the Tamil Nadu State Film Award for Best Villain too.
Regrettably, the consecutive successes of Mumbai Police and Memories also marked the resurgence of the ‘Prithviraj template’, more prominent than ever. From 7th Day, Ivide, James & Alice, Oozham, Ezra and Tiyaan to Adam Joan, Ranam, 9, Lucifer (his own directorial), Cold Case, Kuruthi, Jana Gana Mana, Kaduva, Theerppu, Kaapa and Salaar: Part 1 – Ceasefire, his performances adhered to the familiar style — perpetually tense and intense, with a rigid demeanour, seeming emotionless on the surface, and delivering all lines in the same cold manner.
Even his portrayals in emotionally nuanced characters like those in Picket 43, Ennu Ninte Moideen, Anarkali, Darvinte Parinamam, Vimaanam and Koode, as well as comedic roles in Sapthamashree Thaskaraha, Paavada, Brother’s Day, Bro Daddy and Gold were either haunted by the ghosts of the template and his comfort zone or fell short of expectations.
Prithviraj Sukumaran as Adv Aravind Swaminathan in Dijo Jose Antony’s in Jana Gana Mana. (Image: Prithviraj Sukumaran/Facebook)
Meanwhile, his collaboration with writer-director Sachy in Driving Licence (2019) and Ayyappanum Koshiyum (2020) offered a glimmer of hope for the actor, as Sachy seemed to have smashed the template and understood how to draw out better performances from him, encapsulating various human emotions and expressions. Unfortunately, this hope was short-lived due to Sachy’s sudden demise after the release of Ayyappanum Koshiyum, plunging him back into the abyss.
It’s time for Prithviraj vs Prithviraj
Thence, Aadujeevitham presents an opportunity for the actor to resurrect his career and prove himself, with the character of Najeeb offering numerous challenges and chances for a stellar performance. Going by the novel, Prithviraj will be the only character on-screen for a considerable time, stripping away the luxury of relying on co-stars for the action-reaction technique and forcing him to depend on himself and his surroundings for stimuli. As daunting as this may seem, it also opens doors of possibility for him to explore himself as the character is everything unlike him, coupled with being helpless and vulnerable, which will aid Prithviraj in delivering a performance untouched by his own true self, a feat he hasn’t achieved till now.
Set in a terrain harsh and unfamiliar, wherein Najeeb experienced a tumultuous journey both physically and emotionally, Aadujeevitham offers Prithviraj the chance to join the ranks of the greatest. As he embarks on a career-defining, no-holds-barred war against himself (and his limitations), one can only wait in anticipation to witness how he tackles the central character in one of Malayalam literature’s most beloved survival sagas.
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