As 148 minutes slip by, Naradan proves to be a thought-provoking reflection of the fake news peddling media in the garb of new-age journalism. Directed by Aashiq Abu and written by Unni R, the political thriller manages to present the somber reality of India’s prevailing socio-political environment.
Tovino Thomas plays Chandraprakash, a broadcast journalist who is the “face” of the channel but is struggling to score high on TRP charts. As the channel brings in a new face (Sharaf Udheen) to replace him, he goes on to launch his own channel with the help of rich investors.
At the launch of the said channel, Chandraprakash, now known as CP, encourages (or rather orders) the young recruits to be the “pracharaks” (preachers) as was Naarad, the sage from the Hindu mythology known to be a wandering storyteller. CP lays his expectation clear — he wants the channel to be on the top. From here on begins the vicious cycle of innuendos and manufacturing ‘facts’. By presenting half-baked truths and fictitious facts, he manages to create a new brand of journalism. He shouts on his primetime show, cuts his guests short just as they try to insert logic or facts, and preaches his version of ‘truth’ as news. Does that remind you of any TV news anchor (more than one, maybe) from the current times? I can think of a few.
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Trademark of Malayalam cinema
That is the beauty of Naradan. It does not hold back in presenting the sorry state of affairs of national media. It does not empathise with Chandraprakash or make us feel sorry for him. His metamorphosis into a cut-throat, morally corrupt TV network head is not an overnight miracle. Even earlier, we see that he has little patience or regard for personal relationships and his position and status in the profession is what drives him. In that sole regard, he is a realistic representation of what we see around us. And Thomas is unrecognisable and every bit believable as both Chandraprakash and CP.
Not just him, another journalist Pradeep John (played by Sharaf Udheen) is a ‘by-the-book’ earnest reporter who, despite doing well at his job, is struggling with poor salary — another reality of this profession.
Other commendable performances come in the form of a Muslim woman lawyer (Anna Ben) and Judge Chothi (Indrans) who helps the film’s second half shine. Although the ending of Naradan is uncharacteristically melodramatic, it does the job.
Besides a thoroughly engaging script, the inclusion of caste and representation of religious minorities makes Naradan heartening to watch. But then that is what Malayalam cinema is often lauded for — its courageous and realistic representation of society.
Naradan was initially released in theatres on 4 March but has recently been premiered on the streaming platform, Amazon Prime Video.
The two-and-a-half-hour political thriller is a significant piece of craft in showcasing the country’s new-age sensationalist journalists. Those of you who might have given up on the ‘journalism’ genre of films due to unrealistic portrayal may find a sliver of hope in Naradan.