Ranjith's Mammootty-backed 'Aaro' deals with a man's emotional vulnerability | Review

Apart from the frames, what is refreshing in director Ranjith's 'Aaro', a short film backed by Mammootty Kampany, is that it lays bare the emotional vulnerability of the lead character, unlike many of the director's earlier works driven by alpha-male protagonists.
Ranjith's 'Aaro' treads a quieter path, one that is more reflective than performative. The lead character (Shyamaprasad) plays a lonely writer who misses the company of words and someone special. The themes of loneliness and longing are deeply woven into the fabric of the film, lingering until the very end.

Set in a quiet, cluttered house that evokes a sense of nostalgia, the film's atmosphere becomes especially poignant when the rain begins to fall, amplifying the sense of solitude. However, the sombre short film and the characters, written by V R Sudheesh, feel somewhat distant to the viewer, despite the evocative mood of 'Aaro'.

The narrative spends much of its time peeling back the protagonist's routine one by one - his irregular sleep patterns, struggles to focus on writing, dependency on alcohol and cigarettes, and tendency to cling to memories - to show his loneliness and longing. This, however, reduces him to the cliché image of a writer who can only be creative with plenty of booze.

The unknown phone call from a woman breaks this pattern, just like the rain outside. Despite this flaw, the short film holds a certain charm, largely due to its striking visual narrative. The house itself is brought to life through Prasanth Raveendran's beautiful cinematography. The sound of the rain adds a haunting atmosphere. Equally impressive are the art direction and production design, which further enhance the film's immersive experience alongside Bijibal's music. The isolated house at the centre of the narrative, with its sprawling rooms feels solitary yet comforting, matching the tone of the author’s reflective mood.

Featuring just three actors — director-turned-actor Shyamaprasad, Manju Warrier, and Azeez Nedumangad — the cast infuses the story with enough appeal, though their characters could have been better written. For example, Shyamaprasad’s character embodies a man brimming with emotion, yet these feelings remain largely concealed, never allowing the audience a true glimpse into his inner world, though the makers spent nearly 15 minutes solely with the protagonist. Is this where the actor takes over, expressing those unconcealed thoughts without words or emotions? Like when Irrfan Khan as Saajan Fernandes conveyed those sombre thoughts in his reflective state in ‘The Lunchbox’? Probably yes.

Manju Warrier was visually well presented, which was one of the key takeaways from the shortfilm. The Bengali-style bindi and wardrobe not only enhanced her physical beauty but also elevated her presence to another level, thanks to the cinematic framing. However, despite this stunning portrayal, the script did not fully challenge or demand much from her performance.
Overall, 'Aaro', backed by Mammootty Kampany and Capitol Theatre, is a ride through a familiar, nostalgic road, though one with a few bumps as it strives to reach its destination.