These are the ideas that keep Guruvayoor Ambalanadayil going even as it traverses through predictable Priyadarshan-esque territory. It explores an excellent idea for such a comedy with one particularly important detail that often seems to have been left behind when a marriage gets fixed. The relationship between the two brothers-in-law too seems to brim with solid comedic fire power given how quickly we reach the end of the first half. Basil and Prithviraj have their own chemistry going on, one that feels fresh and rewarding and a casting coup that just keeps giving.
Yet it’s this very chemistry we begin to miss the moment their characters Vinu and Anandan have a fallout. After the high of the first half, we move into a large portion that feels like a barrage of character introductions. From a distance, you sort of understand the need for this pattern of storytelling for the film to build up to its large, confusing tail-end with as many people wanting Vinu’s marriage to happen as there are people who want to ensure the marriage is called off. This is also where you understand why an all-time great like Priyadarshan keeps emphasising the need for his stellar legion of actors to drive such confusing comedies.
Which means that the second half works only as long as it’s being driven by a crazy character played by a fascinating actor. Some of these, including a friend of Vinu’s with a terrible reputation, keep it moving. But when they’re replaced by half-written characters like that played by an obvious Yogi Babu, the laughs dry up and so does the film’s laugh-per-minute comedic pace.