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In this edition of Editor’s Take, Jitesh Pillaai shares his thoughts on the recently released film Balan The Boy. He explores what makes this Malayalam emotional thriller a standout piece of storytelling and why it is a masterclass that demands to be seen. 

In his words: 

“At the interval point, I briefly thought the film had ended, leaving the narrative open-ended. That is a testament to how complete and special this experience is. Directed by Chidambaram—whose debut Jan-e-Man I absolutely loved, followed by the universally acclaimed Manjummel Boys—Balan feels uniquely transcendent. Perhaps watching it with my mother added a layer of poignancy, especially during the more triggering and heartwarming sequences. On a superficial level, Balan is a thriller, and the writing by Jitin Madhavan, who also penned Romancham and Aavesham, is top-class. While the red flags and the twists in the tale may echo the intensity of Drishyam, Balan remains an entirely original piece of work.

Emotions marry the thriller format as a jail convict and her son plot a series of decoys. The mother somewhat manipulates the little child to keep her secret, a task he executes with aplomb. A knife was twisted into my heart when he waited for his mother at the bus stop after school, long after she failed to show up—knowing she had specifically told him that, no matter how late, Amma would return. When the sequence is replayed in the climax, I had a lump in my throat the size of a tennis ball.

There is so much more to love and look back on with affection. Tovino Thomas, as the rascal rogue, is first-rate; his final scene is deeply moving. Grand matriarch Dolly Jane is a scene-stealer, and Jean-Paul Lal, in an icy cameo, is sinister and highly effective. The cinematography by Shyju Khalid masterfully alternates between the bucolic Wayanad setting and the sinister shadows lurking within.

At the center of it all is Farzana, who delivers the performance of a lifetime. She is ice-cold throughout, yet capable of flashing sudden fire. The heart of the film, however, belongs to the little moppet Adiseshan; he interiorizes the madness around him beautifully and wrenches your heart. Muhammed Zinan is also terrific, particularly in the climax as he runs to deliver his apology to Abbas—a true sucker punch.

The ‘Takol’ song, sensitively rendered like a children’s poem, stays with you long after the frames have dissolved. For me, only 80s directors like K.G. George, Mohan, and Padmarajan could recreate such moody ambiences and whodunits. Chidambaram’s film is a worthy addition to that prestigious list of thrillers—joining recent gems like Rekha, Chitram, Eko, and Kishkindha Kaandam. We go to the movies to laugh, to be entertained, and to cry out loud. Malayalam cinema gets it right yet again. Bollywood writers and directors, please take note: Balan should be the masterclass for anyone attempting to write a solid emotional thriller.”

Also Read: Editor’s Take: The Day I Met Pancham Da…And Never Stopped Listening