‘Thudakkam’ full review | Confident Vismaya Mohanlal shines in Jude Anthany’s engaging drama

Published: August 07, 2026 11:54 AM IST

Updated: August 07, 2026 04:46 PM IST

Forty-six years ago, when Mohanlal made his acting debut, there were no grand launches or elaborate celebrations. Audiences discovered him only after the film began, a young actor who delivered his lines with remarkable ease and carried himself with a natural confidence from his very first scene.

More than four decades later, his daughter Vismaya steps into cinema with ‘Thudakkam,’ directed by Jude Anthany Joseph. Unlike her father, Vismaya begins her journey with a far more visible launch, backed by the presence and support of both her parents. But with that privilege comes the weight of expectations. And ‘Thudakkam,’ in that sense, does not disappoint.

Backed by a predictable yet engaging screenplay by Akhil Krishna and Linish Nellikkal, the film serves as an ideal launchpad for Vismaya Mohanlal, who makes an assured debut. While the title ‘Thudakkam’ literally translates to ‘beginning,’ Vismaya never comes across as someone finding her feet. From her very first scene, she carries herself with a confidence and ease that belies the fact that this is her debut. There is a natural screen presence about her, and she slips comfortably into the narrative without appearing overwhelmed by the occasion. There is an undeniable screen presence about her, making her a convincing fit for the role while hinting at the potential to take on more challenging characters in the future.

Ashish Antony, who was seen in a brief role in Prithviraj Sukumaran’s ‘Empuraan,’ gets his first substantial role here and turns out to be one of the film’s biggest surprises. Antony Perumbavoor’s son is a genuine revelation, bringing an intriguing edge to his character. With shades of menace and unpredictability, he commands attention whenever he is on screen and adds a compelling dimension to the story.

What works in ‘Thudakkam’ is not that it introduces a groundbreaking premise, but that it arrives at a time when Malayalam cinema has seen relatively few family dramas. While it lacks the feel-good charm associated with classics of the genre, or even Jude Anthany Joseph’s own ‘Om Shanthi Oshana,’ it remains rooted in strong family emotions. At its core is the bond between Meenu (Vismaya) and her father, played with remarkable sincerity by Sai Kumar. As a village officer and an overprotective father, Sai Kumar lends the film both emotional weight and quiet authority, making it easy for the audience to invest in the family’s journey.

Chippy Renjith, returning to the silver screen after a gap of 25 years, has limited screen time as Meenu’s mother, who dies when her daughter is still young. Yet her presence continues to shape the narrative long after she is gone. Jude Anthany establishes her character with warmth and emotional clarity, so that she remains an integral part of the story despite her brief appearance. In fact, this is one of Thudakkam’s greatest strengths—its ability to flesh out its characters and clearly establish their motivations without relying on unnecessary gimmicks, particularly in a well-paced first half. While ‘Thudakkam’ features many heartfelt family moments, an undercurrent of unease runs through the narrative from the very beginning. This tension arises because the film tackles a socially relevant issue that has also been a part of Jude’s previous movies, including ‘2018’ and ‘Sara’s’.

The film also benefits from several well-choreographed action sequences by Yannick Ben and Stunt Silva. While the narrative gradually shifts into action territory, the set pieces never overpower the emotional core of the story. It is a risky balance to strike, especially for a family drama, but Jude Anthany Joseph and the writers largely pull it off, blending action and drama with commendable restraint.

The film remains engaging until the very end, but the second half occasionally gives in to the temptation of playing to the gallery. Mohanlal’s much-publicised cameo, despite generating excitement, feels more like a crowd-pleasing moment than an organic extension of the story. The director had earlier admitted that changes were made to accommodate the cameo, and that slight disconnect is visible on screen.

There are also moments when the narrative seems overly determined to showcase the abilities of its debutant, stretching situations beyond believability to underline a point. These portions disrupt the otherwise steady rhythm of the film and make the second half feel uneven. It is here that ‘Thudakkam’ loses some of the emotional grip it builds so effectively in the first half.

Visually, however, the film is consistently impressive. The cinematography captures both the warmth of its family moments and the intensity of its action with equal finesse, while the well-composed frames add depth to the storytelling. Coupled with a tightly written screenplay and memorable characterisations, ‘Thudakkam’ manages to rise above its shortcomings.

It may not be a flawless debut vehicle, nor does it reinvent the family drama, but ‘Thudakkam’ succeeds where it matters most: it introduces Vismaya Mohanlal with confidence and conviction.