A part played by Soubin Shahir, a gifted actor, is exclusively written for humour and more often than not it only works to disrupt the flow and brings little laughter.īut there are some moments of easy humour.
Perhaps it happened with the attempts to bring a lot of comedy into the script and often failing. It need not have slow-paced sequences or even close to life situations, but you expect the script to carry some conviction. That’s what mostly works against the film, the artificiality of it all. It could have been a very relatable situation for young women if only the dialogues did not sound so artificial.
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Kalyani is an IT professional in Bengaluru dodging repeated pleas of marriage proposals from her parents (Lalu Alex and Kaniha). These shots are so amateur that you imagine a playwright standing behind a curtain and pushing each character out, “go, now”. Kalyani Priyadarshan is also introduced in those first few scenes of rapid introductions. Prithviraj actually gets the bottom to top treatment of the slow-panning camera, reserved for superstars. Human Eesho works in a reputed ad company in Bengaluru, looks down upon the local ad business of his father’s bosom buddy (Lalu Alex in a nice lengthy role for a change), has a carefree life filled with friends and parties and a girlfriend. Predictably there are many lines connecting Lord Jesus to the ponytailed human version. Play the picture-book wife and mother she’s been dressed up for, uttering ‘Ayo Eeshoye’ (Oh Christ) or smiling warmly when prompted.Įesho, by the way, is the son’s name, the Malayalam term for Jesus. All through the film, sadly, that’s pretty much all Meena’s character has to do. Meena enters as if on cue from behind the curtain to the stage, bearing a tray of coffee (coffee is a repeating prop in the movie, and used well for comedy). Mohanlal, in his most casual self, introduces the wife and the son to the parish priest.
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The movie begins by obeying conventions and a series of introductions follow the titles. The other is to back the main storyline – (small spoiler alert here) – the parents are young enough to be parents again. One is of course to explain the “blasphemous” casting of a superstar as the dad of an adult (fans are notorious for being unforgiving if their supertstar is shown in unflattering roles). By the time they have a baby, and another speech bubble pops out, you are almost sure the baby would say, but dad you’re too young for me.īro Daddy begins with this premise and you are prepared for the story of a son raised by really young parents. But the youngness of the parents is there for more than one reason. And everywhere cartoon Mohanlal and wife go – people point out, but they are too young. A song, pleasing to the ear (music by Deepak Dev), in Mohanlal and Prithviraj’s voices, plays in the background. But the movie began with him in cartoon form, animated pictures of his younger self – too young we are told through speech bubbles popping out of passers-by. There is no slow motion entry, no top to bottom close-ups, not even a dramatic tune. Mohanlal, in his bearded form of the present, first appears at the end of an ad about his steel bar plant (after a dig at dramatic television reporting). Bro Daddy has too many bumps to cross on the way to reach a good place. But the film, which offers some enjoyable moments and an interesting storyline, slips and falls too many times. Right from the titles to the end of the film. Prithviraj, who plays the son and has directed the movie, has made every effort to make it clear that the dad, and the mom too – played by Meena – are really too young. It is swell that Mohanlal willingly played dad to a grown-up son, a man in his 30s with a job and a girlfriend and a ponytail.
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