Pariwar

Story: Bhaskara Pillai lies on his deathbed while his four sons fixate on the diamond ring on his finger. What starts as quite anticipation soon turns into a desperate struggle for possession. Who will have the last laugh?

Review: Ulsav Rajeev’s Pariwar moves away from the crime thrillers and action-packed dramas often seen in Malayalam cinema. Instead, it presents a family drama laced with humour, where greed and human folly take center stage.

The story revolves around an antique gold ring, gifted by a British officer to Bhaskara Pillai. As the aging patriarch’s health declines, his children circle around him, each hoping to claim the prized possession. What follows is a mix of sharp dialogues, well-placed humour, and characters that feel oddly familiar.

Jagadish as Sahadevan and Prashanth Alexander as Nakulan capture the essence of self-serving siblings, while Indrans delivers a restrained yet powerful performance as the eldest brother. The supporting cast, including Rishikesh and Meenaraj Palluruthy, brings warmth and authenticity to the film.

Unlike exaggerated family dramas, Pariwar lets humor flow naturally from the characters and their schemes, avoiding slapstick. The writing keeps things light yet engaging, making the film an easy watch.

However, the film loses some of its sharpness towards the climax, settling into a predictable emotional wrap-up. While this might not dampen the overall experience, it does soften the impact of an otherwise lively narrative.

One of Pariwar’s biggest strengths is its cast—actors who slip into their roles without any star-driven distractions. The film’s appeal lies in its everyday characters rather than grand spectacle, much like Narayaneente Moonnaam Makkal.

With Alphas Jahangir’s crisp cinematography, Bijibal’s evocative music, and Santhosh Varma’s thoughtful lyrics, the film’s technical aspects subtly enhance the storytelling.

Pariwar is a simple, entertaining watch—ideal for those who enjoy family dramas that blend humour with an honest look at human nature. It may not rewrite the rules of cinema, but it proves that a well-told story doesn’t need crime or chaos to hold its audience.
- Anjana George