Malayalam cinema has constantly been hitting it out of the park. The nuanced layering, and the manner in which small and relatable stories have been presented on screen, make it clear why Malayalam films are a clear standout. An area where Malayalam cinema has not been appreciated enough is in the staging and choreography of fight scenes.
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While Malayalam cinema has several memorable massive fight scenes, the quality of the same is a bit debatable. These scenes not only make a disturbing act aesthetic to watch, but also help in elevating the film to another dimension altogether. Through this article, I aim to pick out a few fight scenes from recent Malayalam films, which are not only slick and stylish, but have helped in elevating a particular character or the film as a whole.
| NB: The list is purely personal and is a compilation of those scenes which aren’t necessarily brilliantly choreographed, but are just ones that serve as the highlight of the film or elevate its quality. Furthermore, the list only contains fight scenes from the films that I have watched (obviously!). |
Climax Fight of Ayyapanum Koshiyum
Ayyapanum Koshiyum is a brilliant take on how the clash of male egos can create absolute carnage. Sachy, in his last venture, gifted the Malayalam cinema industry a film it would always remain proud of. From having a screenplay that extends to approximately 3 hours and is dialogue-heavy throughout, you cannot really find a dull moment in this movie. It is a classic example of massy elements for both lead actors, done in the most understated manner.
In the film, the ego tussle reaches its peak during the climax where Ayyapan Nair, played by Biju Menon, and Koshy Kurian, played by Prithviraj Sukumaran, battle it out to settle the scores. This fight is superbly designed and executed and helps in giving the film an absolute banger of a climax.
Both characters go hand to hand, use pressure point attacks, escape retaliating blows and display their fighting prowess. The fight scene spreads through the market as they destroy shops and get themselves dirty, quite literally.
This fight scene stands out due to the realism presented in the sequence with respect to how the characters fight. They are not trained fighters; hence they resort to picking up whatever they find and attacking their opponent by pushing and pulling them around and attacking them in the most rash manner.
The sequence has several layers to it, with the clash of male egos being the most prominent one. The fight also shows us a combat for validation and respect while being able to satisfy their own egos after the opposite individual humiliates them and starts to destroy each other entirely. Sudeep Elamon does a fabulous job in capturing this sequence. When the characters get a blow, the movement of the camera makes us feel the same. He rolls and turns over when the characters roll over during their tussle. The intricate editing by Ranjan Abraham for this scene helps maintain the intensity of the fight and keeps viewers engaged. Jakes Bejoy with his folk tunes elevates this scene and makes it one of the most memorable fight scenes from Malayalam cinema of late.
The Final Showdown in RDX
RDX is one of its kind action films in Malayalam directed by Nahas Hidayath, which showcases a mix of karate, kickboxing, and nunchuck fights. Robert, Dony, and Xavier are close friends in the film who want to avenge the attack on Dony’s family. They have to fight an entire colony leading up to a climactic showdown on a ground.
This climax sequence features Shane Nigam, Antony Varghese, and Neeraj Madhav battling it out against the antagonists. This sequence looks aesthetically pleasing and is the high point of RDX as it provides closure to the protagonists.
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The three men make use of these fighting styles, which are choreographed intricately by Anbariv. The punches and kicks look organic and real. Though in a corner of your mind you know that it’s all just acting and is done with safety harnesses and ropes, the final product is absolutely stunning and makes us feel that the characters are actually fighting each other. Shane is brilliant with his Karate moves; so is Antony with his Kickboxing stances. Neeraj Madhav wields nunchucks so brilliantly. The three of them actually light up the screen with their superb physicality displayed in this sequence. The reason why this scene becomes a highlight is the surprise entry of Babu Antony. The OG martial arts and fight scene specialist, steps in to help the three friends take down their opponents.
This final showdown will be remembered in history for its realistic and authentic portrayal of the three fighting styles, and how it has been designed and executed. Special credits to Alex J Pulickal for shooting this sequence so beautifully and Chaman Chakko for the slick cuts that keep viewers absolutely engrossed. Sam CS with his music creates an atmosphere of tension, revenge, and raised testosterone levels for absolute mayhem. Though the film has several other action set pieces, the positioning, emotions involved and special Babu Antony entry which this scene the highlight of RDX and one of those unforgettable fight scenes in Malayalam cinema.
Fahadh Faasil Eliminating the Maprani Men in Varathan
Varathan is one of those rare films by Amal Neerad that partially convinces you that there’s no guns or explosives up until its climax. A film that keeps you invested till the end pulls up a combat sequence that was long overdue. Fahadh plays Aby, a man who recently shifts to his wife Priya’s estate house played by Aishwarya Lekshmi. However, things get tough for Aby and Priya, leading them to a stage where their enemies, the Maprani men, need to be taught a lesson.
The fight scene starts off brilliantly by showing Fahadh entering a room and turning on red lights to indicate that absolute mayhem is incoming. Through this whole sequence set in and around the estate bungalow, the techniques used to eliminate enemies are rather unconventional for a massy fight sequence: there’s usage of petroleum balloons, electric shocks, gas cylinders, matchsticks, night vision goggles, a nonstick pan, and finally some hand-to-hand combat along with guns.
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This sequence was so intricately designed that it enhanced the film’s impact on viewers. While many expected it to be an Amal Neerad blast, they were handed a simple emotional tale until Fahad smokes a cigarette and walks out of his house to counter-threaten the Maprani patriarch. From that moment until the credits roll viewers were glued to their seats as this insanely smart action sequence unfolded. It felt more like a DIY fight sequence which we can replicate in real life when stuck in similar situations if we have quick thinking.
Sushin Shyam’s theme enhances this scene’s impact while keeping tension alive. Littil Swayamp with his brilliant camera work along with Vivek Harshan’s skilful editing gives this sequence a crisp feel. Varathan ended up becoming an engaging watch for audiences not only due to its storyline but also due to this surprise action sequence. And so, it can undoubtedly be referred to as one of the finest and smartly crafted fight scenes in Malayalam cinema.
The Car Fight Scene & Theatre Showdown in Thallumaala
Like its name suggests, Thallumaala is a film wherein there is a chain of fights that happen throughout its runtime. Tovino Thomas and Lukman Avaran headline this film and go on rampage fights against Shine Tom Chacko and his men.
Out of all these fights, those inside the car and in the theatre remain highlights for both action choreography/execution and visual depiction. These scenes can easily go down in records as most intricately designed fight scenes ever made in Malayalam cinema.
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While the in car sequence involves slapping, punching, grabbing within confined area, the theatre fight involves more destruction by throwing people around and destroying seats. The car sequence involves heavy VFX regarding depiction car’s movement road simultaneous fight scene; however the makers indeed shot this within confines real car. The minute detailing of the kicks, usage of headrests to attack opponents, etc. are all brilliantly designed and executed.
However, the carnage that the theatre fight scene is, it would always stay a level higher than all the other fights in this film. There is a twin camera set up on a rotating crane to capture this scene, which was an absolute beauty to watch from a visual POV. The destruction caused and the anger of the ones involved are perfectly captured in this sequence. From a making POV, definitely the theatre showdown is an absolute winner. But from an out of the box thinking and execution POV, the fight scene inside the car requires to be appreciated.
Jimshi Khalid as the DOP, Vishnu Vijay as the music director and Nishadh Yusuf as the editor absolutely cooked on this one, based on the visualisation and direction given by Khalid Rahman, thereby making these 2 fight scenes the highlights of Thallumaala.
Rangan Chettan Finally Gets His Hands Dirty in Aavesham
Aavesham can easily be regarded as the most entertaining film of 2024. Jithu Madhavan gave us an extremely memorable character in the form of Rangan played outstandingly by Fahadh Faasil. Throughout the film, there are stories being told about how Ranga is a dangerous person and someone who is ruthless when it comes to fights. But just like Aju, Bibin and Shanthan, we too wonder why Ranga does not fight and why we do not get to see him fight.
Ranga doesn’t fight because he made a promise to his mother, but in the climax, we get to see a deadly side of Ranga when he fights the henchmen of his teacher and guru Reddy, all alone. This sequence is hands down the best scene in the film, from the storytelling POV.
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The impact this scene had when the first goon was beaten down by Ranga, is absolutely unexplainable. In a packed theatre, the audience went absolutely mad. The whole sequence is designed to make it look like a person of a thin build could beat up hefty goons with perfect technique, pace and style. The notion that only a well-built individual can make an action scene look aesthetic was broken by Fahadh through this scene, as he also features shirtless in the sequence.
Sameer Thahir behind the camera, Vivek Harshan handling the cuts, Sushin Shyam with the background score, and Jithu Madhavan calling the shots, make this actual “fight” scene of Rangan Chettan a sequence that satisfies the viewers thoroughly and gives them the needed adrenaline rush. Rangan taking down Reddy’s goons all alone is definitely a high point in Aavesham and is worthy of repeat viewing.
Tovino Thomas vs Moor in Kala
Kala is a film that redefined the portrayal of fight scenes in Malayalam cinema. With the film being handed an adults-only certificate by the CBFC for the violence it contains, it was sure that we were in for some gory, brutal, and bloody fight sequences. Rohith VS, in this film, delivers exactly that through the fights.
The entire second half of the film is just this war of sorts between the characters of Tovino and Moor. They find anything and everything around them, using it as their weapons and absolutely destroying each other in every way possible. The fights are extremely realistic and not once do they feel staged. The detailing goes to such an extent that you have Tovino in a sequence running around without his lungi, because during the fights, dhotis and lungis are bound to come off and not stay on your body as they do in almost 90% of fights in Malayalam movies.
The style of fighting in the film is more inclined to street fights and involves moves picked up through the environment in which both the characters have grown up. If you notice carefully, the fighting style of Tovino is more nuanced and modern in nature, drawing inspiration from what he has seen through the “civilised” society he has grown up in. However, Moor, on the other hand, follows more of a “savage” style of fight, derived from the animals he has seen and grown up with. There is a depiction of class divide through these fights.
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The minimal usage of dialogues in the second half of Kala is for this purpose: to allow the viewers to determine what the fights convey and stand for. Once the fight begins, the brutality and gory nature keep increasing as each moment passes by. Kala will be a film remembered for conveying class politics and power dynamics through fighting styles and gory battles, rather than preachy dialogues.
There might be a section of viewers who find the violence unnecessarily gory. However, these fights symbolise the heights to which ego tussles can go and prove that humans—especially men—do not settle unless they satisfy their ego. They are pumped and ready to go to any extent to satisfy their ego, even if it means that they destroy themselves completely in the process, or worse, face death. Tovino’s character in the film is the perfect embodiment of this description, and the fights he has with Moor stand as a testament to the same.
Akhil George’s outstanding camera work and Chaman Chakko’s slick editing make this action-packed sequence in the second half absolutely stunning, and it remains the highlight of the film.
The Factory Fight in Lucifer
Lucifer is a film that will remain special to Malayalis for all time. Despite the fact that it was the first film directed by Prithviraj Sukumaran, it is a film that gave Mohanlal fans a whole lot of content to celebrate and enjoy. Mohanlal, the star, was presented in one of the most understated yet massy roles of his career. All it took for Mohanlal to be portrayed the way he should be on screen was an avid fanboy in the form of Prithviraj. When fanboys cook, they cook hard and make sure each and every aspect of their hero is covered well. Lucifer does the same for Mohanlal, and the factory fight scene is surely a highlight of the film.
The sequence is placed at a juncture where we have little to no idea about who and what Stephen Nedumpally is. There are fleeting rumours regarding his origin and backstory, but there is no concrete evidence. At this moment, we have this brilliantly crafted fight scene where Mohanlal enters the factory, beats up all the henchmen, and clears the place in such a way that not even a speck of dust seems to have moved out of place. This fight scene makes the viewers realise that “Stephen nammal uddeshicha aal alla” (Stephen is not who we think he is), as told by Kalabhavan Shajohn.
With a mix of filmy-style, massy fights as well as some swift pickup-and-throw moves, Mohanlal is in absolute control of this fight sequence. The usage of traditional blocks and locks, as well as a commitment to hand-to-hand combat throughout the sequence, elevates the character of Stephen Nedumpally. Prior to this, viewers feel he is a mellowed individual who knows only politics. But after this scene, you realise that Stephen knows how to get his hands dirty when needed and can be a force to reckon with.
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Sujith Vaassudev’s brilliant camera work and Deepak Dev’s score, along with the song Kadavule Pole playing in the background, enhance the impact of this sequence and give Mohanlal one of the finest and most impactful action scenes of his career.
Micheal’s Massy Warehouse Fight in Bheeshma Parvam
Bheeshma Parvam has the same impact on Mammootty as Lucifer had on Mohanlal. It delivers a godly screen presence for Mammootty. The Amal Neerad-Mammootty collaboration was long overdue and highly anticipated by viewers. Bheeshma Parvam did not fail to meet these expectations and emerged as one of the most successful films of Mammootty’s career.
Through the teaser and trailer, we’d seen glimpses of Mammootty’s warehouse fight sequence and were blown away by a 72-year-old Mammootty looking like he’s in his early 50s, effortlessly beating up goons. When the film released, the audience went absolutely crazy for this scene. Mammootty, with his magnanimous screen presence, set the screen ablaze in this fight sequence.
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Relying on his inherent swagger, Mammootty performs in this sequence with remarkable ease. He picks up tools from his surroundings and smashes his opponents. With a mix of local fighting styles and elements of traditional masala-film combat, this fight sequence establishes Michael Anjootti’s aura and dominance.
There are several other memorable fight scenes in the film, such as the one in the basement where Michael clashes with the Bada Rajan gang. However, the visual brilliance and impact of the warehouse fight remain unmatched.
Christo Xavier’s electrifying score provides the sequence with the perfect massy vibe. Anend C Chandran’s stunning cinematography enhances the scene’s visual aesthetic, and the smart usage of a robotic arm for filming adds to its intensity. The seamless execution convinces viewers that Mammootty himself performed the stunts, with no reliance on a body double.
The Kalaripayattu Showcase during the Ankathallu in ARM
Ajayante Randam Moshanam (ARM) has firmly established itself among the greatest of Malayalam cinema, thanks to its exceptional storytelling and visual grandeur. The film’s main USP was Tovino Thomas in a groundbreaking triple-role performance, each character bringing unique layers to the narrative. Beyond the visuals, acting, and music—which were instrumental in making ARM a monumental success both in theaters and on OTT platforms—the film’s action scenes deserve special mention.
Kunjikelu and Ajayan channel the grace and discipline of Kalaripayattu in their fights, while Maniyan takes a more raw, savage approach to the martial art. Though Maniyan’s style and Tovino’s distinctive mannerisms in portraying him were highlights, Ajayan holds a special place in the hearts of viewers. This admiration peaks during the ankathallu sequence, which stands out as the most captivating fight sequence in the film.
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The art of Kalaripayattu is displayed in all its glory in this scene. From Meipayattu, Cheriya Vadi, Chooral, and Katara to the use of spears, swords, and shields, the sequence showcases the intricate techniques of the martial art with precision and authenticity. As a student of Kalaripayattu myself, I can attest to the authenticity and finesse of these sequences. Tovino Thomas and Shivajith have done an outstanding job bringing this scene to life, their performances making it a visual and emotional spectacle.
The sequence’s superb choreography and execution keep the audience completely engaged. Narratively, the ankathallu sequence carries significant weight, serving as a turning point for Ajayan’s character. Its success was vital to cementing his position in the film’s story. While Kalaripayattu has been depicted in several movies, ARM elevates its portrayal to a whole new level of excellence.
Jomon T. John’s stunning cinematography, Shameer Muhammed’s crisp editing, and Dhibu Ninan Thomas’s pulsating score further elevate this already spectacular scene, making it one of the film’s most memorable moments.
These were some of my picks for the most memorable fight scenes in Malayalam cinema. There definitely exist several other fight scenes in Malayalam cinema which I may have missed out on. Drop them in the comments below.
