In his films, he is man enough not to be a man. Shammi doesn’t quite succeed in defining masculinity on screen, but Fahadh has. In that one proclamation, he and Fahadh could be the same person. In another memorable climactic moment in Kumbalangi Nights, Shammi tells Saji and Bonnie that he will show them what a real man can do. He is a performer not trapped by any notions of hyper-masculinity or herogiri, freeing him up to make fearless career choices. Fahadh is the opposite: He is brazenly unconventional even in a film that he has produced, he chooses not to hog maximum screen time. Shammi is a conventional alpha male who is ultimately baited and trapped – quite literally – by his own masculinity. In fact, the entire climax of Kumbalangi Nights could be a twisted metaphor for Fahadh’s career. In Kumbalangi Nights, a film he has also produced, Fahadh plays Shammi, the villain. What it does have though is Fahadh Faasil, who is unquestionably among Malayalam cinema’s finest. It is undoubtedly good, but it isn’t among Malayalam cinema’s best.
I’ m going to go out on a limb and be the person who says this: Kumbalangi Nights is an exquisite yet exceedingly hyped film.
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