Daijiworld Media Network - Mumbai
Mumbai, May 7: Director Mahesh Narayanan’s Patriot may have opened to mixed reviews, but one aspect that sparked considerable debate among audiences was Fahadh Faasil’s portrayal of Shakthi Sundaram. While several viewers criticised the actor for allegedly repeating familiar mannerisms seen in earlier performances such as Shammi in Kumbalangi Nights, Pastor Joshua Carlton in Trance, and Agent Amar in Vikram, many film observers argue that the issue lies more in the film’s writing than in Fahadh’s acting abilities.
Criticism surrounding Patriot largely centred on claims that Fahadh’s character relied heavily on eccentric expressions and theatrical shades already associated with his previous grey-shaded roles. However, singling out the actor alone may be unfair, especially in a film where even veterans Mohanlal and Mammootty delivered performances considered only moderately effective by many viewers.
Film critics and cinema enthusiasts point out that Fahadh Faasil’s career itself offers enough evidence of his ability to create distinct identities for morally complex characters. From Cocktail (2010) to Joji (2021), the actor has consistently demonstrated a willingness to approach each grey-shaded role differently, often depending on the psychological depth and writing provided to the character.
In early performances such as Naveen Krishnamurthy in Cocktail, Fahadh displayed raw promise despite certain shortcomings in dialogue delivery and dubbing. His performances in Chaappa Kurishu and 22 Female Kottayam later established him as one of Malayalam cinema’s finest performers, with his restrained portrayal of manipulative and morally flawed characters earning widespread acclaim.
Particularly in 22 Female Kottayam, Fahadh’s portrayal of Cyril stood apart from conventional villain performances in Malayalam cinema. Instead of relying on loud theatrics or exaggerated evilness, he maintained subtlety throughout, allowing the character’s disturbing nature to emerge organically.
Over the years, Fahadh continued refining this understated acting style in films such as Natholi Oru Cheriya Meenalla, Akam and Thondimuthalum Driksakshiyum, where he focused on psychological realism rather than stock villain mannerisms. His portrayal of Prasad in Thondimuthalum Driksakshiyum especially redefined how thieves were represented in Malayalam cinema.
His performances in Kumbalangi Nights and Trance further showcased his versatility. While Shammi in Kumbalangi Nights embodied calm yet terrifying patriarchal toxicity, Pastor Joshua Carlton in Trance demanded a far more intense and explosive performance. In Joji, however, Fahadh shifted back to restraint, portraying insecurity and delusion with remarkable subtlety.
Similarly, in Malayankunju and Maamannan, the actor explored different shades of caste prejudice using controlled body language and expressions instead of overt dramatics.
However, critics argue that Patriot failed to provide Fahadh with enough material to explore Shakthi Sundaram beyond surface-level traits. The character is largely shown negotiating deals, issuing threats, or expressing tension, with very few scenes depicting his ordinary human side or emotional layers.
As a result, Fahadh appears to rely on familiar behavioural patterns to establish the character’s intensity, which may have contributed to perceptions of repetition. Observers note that even Mohanlal and Mammootty seemed constrained by the film’s underwhelming screenplay, suggesting that Patriot’s biggest weakness lies in its writing rather than its performances.
While Fahadh has delivered weaker performances in films like Irul, Dhoomam and Odum Kuthira Chaadum Kuthira, many still consider him one of the few engaging aspects of Patriot despite the film’s shortcomings.
Cinema analysts maintain that strong performances often emerge from strong writing and direction, and Patriot perhaps serves as another reminder that even accomplished actors struggle when characters lack sufficient depth and originality.