Nivin Pauly’s ‘Baby Girl’ draws you in with a compelling story, touching performances | Movie Review

A film revolving exclusively around a baby girl? The idea is intriguing, especially given that there are very films in Malayalam cinema that have focused entirely on infants. Adding to the curiosity is the fact that the actor playing the central role was barely a week old when she joined the set. ‘Baby Girl’ directed by Arun Varma, centres on this infant and the lives that become unexpectedly intertwined with hers following an incident in a hospital.

Arun Varma is definitely not a stranger to thrillers, given that his debut work was the Suresh Gopi-Biju Menon-starrer ‘Garudan’ and with ‘Baby Girl’, he strengthens his forte, this time with a more solid script by the popular duo Bobby-Sanjay, who have marked their return to Mollywood after a gap of three years, post ‘Innale Vare’ directed by Jis Joy.

In some ways, ‘Baby Girl,’ which stars Nivin Pauly and Lijomol in lead roles, draws noticeable parallels with Bobby and Sanjay’s earlier blockbuster, ‘Traffic’—in terms of style, pacing, and the familiar presence of police officers constantly racing against time in the bustling streets, desperately trying to solve a pressing crisis. However, despite these similarities, ‘Baby Girl’ carves its own path, with Bobby and Sanjay presenting a fresh and distinct narrative.

One of Bobby and Sanjay’s undeniable strengths lies in their ability to weave emotional, deeply resonant stories, whether it was in their earlier scripts ‘Ayyaluum Nyanum Thammil’ or even ‘Uyare.’ In Baby Girl as well, Bobby and Sanjay succeed in creating some (not too many) powerful moments between the central characters, even as they—along with director Arun Varma—attempt to shape a narrative dense with suspense. The makers also attempt to tackle issues that resonate with today’s youth, offering a relevant and reflective take on contemporary concerns, including woman’s body choices and family clashes.

While the film remains engaging for the most part, it does stumble at times, particularly in the second half, when the makers try to neatly tie up every loose end. In their effort to address multiple issues and provide clear resolutions, the storytelling occasionally slips into predictability, slightly diluting the impact of what is otherwise a tightly conceived film. The spinning camera edits, probably to elevate the film’s pacing, helped in creating a sense of urgency, but the visual treatment felt a little unpolished at times, dulling the impact. The inconsistencies become more apparent in the colour grading, which could have been handled with greater finesse to enhance the film’s overall mood and visual cohesion.

Nivin Pauly plays an attender Sanal Mathew who occupies a pivotal place in the narrative. Yet, his performance feels deliberately restrained, as if he is operating in a safe mode—content to step into the background at times and allow the other actors -- Sangeeth Prathap, Lijomol, and Abhimanyu, to take centre stage within the larger setting. It is also interesting to note Nivin Pauly’s back-to-back releases, with three films hitting screens in the past month and a half, including ‘Pharma’ and ‘Sarvam Maya,’ the latter emerging as a blockbuster. In ‘Baby Girl,’ he opts for a subdued performance, reminiscent of his portrayal in Pharma, though carried here with a lighter, more relaxed touch.

Lijomol delivers a performance at the peak of her abilities in ‘Baby Girl,’ even if there are occasional moments where her character skirts the edges of stereotype. Yet the actor, who has previously impressed in films like ‘Ponman’ and ‘Jai Bhim,’ once again shines, turning this role into another standout in her career. Sangeeth Prathap, meanwhile, steps away from his usual comic territory to portray a more serious character, marking a shift in his repertoire.

The background score by Sam C S plays a crucial role in heightening the film’s suspense. While there is always the risk of it becoming overwhelming, the composer strikes a careful balance, keeping the music restrained yet impactful, subtly amplifying the tension without ever feeling intrusive.

Overall, despite some unevenness in treatment, ‘Baby Girl’ remains engaging, offering a compelling experience—particularly at a time when few thrillers are currently making their presence felt in theatres.