The narrative unfolds within the quaint confines of Kasumuru village. Once inseparable companions, Young Guru and Samshuddin’s bond shattered irreparably after a harrowing incident, transforming them into formidable foes. Moideen Bhai, a prominent figure in Mumbai’s textile industry, shares a significant connection with Guru and his hometown.
However, the tranquility of Kasumuru is disrupted when the community faces disparagement from outsiders. Much remains concealed, including the ensuing events, the escalation of conflicts, Moideen Bhai’s involvement, and the possibility of reconciliation between the estranged youngsters.
Vishnu Vishal’s performance in the film impeccably meets expectations, skillfully capturing the essence of rustic charm and vintage aesthetics. Rajinikanth, portraying Vikrant’s father, leaves a lasting impression with his gestures and poignant dialogue delivery. While Vikrant’s portrayal is decent, the supporting cast delivers respectable performances, with Jeevita Rajasekhar notably shining with her authentic beauty.
However, Lal Salaam’s noticeable shortcomings lie in its plot and slow-paced screenplay. The message conveyed by Aishwarya Rajinikanth, though not entirely novel, suffers from familiarity, seen in numerous previous films. As co-screenwriter and director, Aishwarya could have encouraged more passion from co-scriptwriter Vishnu Rangasamy, particularly in enhancing emotional moments, which lack impact due to a lackluster background score.
The introduction of characters like heroine Ananthika, Kapil Dev, and Nirosha adds little to the narrative, and Aishwarya’s direction could have improved key elements. Moreover, the film’s lengthy runtime is its greatest obstacle, with prolonged unedited sequences suggesting narrative stagnation.
While Lal Salaam attempts to address the divide between Muslims and Hindus, it falls short of transcending mere convenience. Despite Aishwarya Rajinikanth’s combined roles as director and screenwriter, the film fails to create a compelling image, hindered by sluggish pacing and a shallow plot in the second half, testing the audience’s patience. However, the film’s political content deserves commendation.
Although Vishnu Rangasamy’s cinematography and Pravin Baaskar’s editing are commendable, AR Rahman’s score fails to leave a lasting impression.
Rating: 2.5/5
In general, Lal Salaam proves to be a lackluster and disappointing cinematic experience, with its only redeeming qualities lying in the average performances of its cast. Despite Rajinikanth’s involvement, the film fails to leave a lasting impact. It earns a modest rating of 2.5 out of 5 stars.
