From Salt N' Pepper To Kishkindha Kaandam, Asif Ali's Finest Acts

ASIF ALI's filmography is a testament to his fearless experimentation and persistence. Last year alone, he had six releases, with two cameos and four lead roles that defied convention. Asif's willingness to push the envelope resonates deeply for the Malayali audience who have always had a soft spot for underdogs and outsiders. Despite some inconsistencies in his performances and sporadic box-office hits, Asif remains a warm, comforting presence on screen. Here, we have picked some of his best acts, primarily based on the merit of his eye for experimentation and commitment to his craft.

Uyare (2019)

Govind is the quintessential toxic boyfriend, who systematically erodes his girlfriend Pallavi’s (Parvathy Thiruvothu) autonomy, controlling everything from the length of her skirt to the quantum of her affection to her career aspirations.

What’s significant about Govind in this film directed by Manu Asokan, and written by Bobby-Sanjay is that for the first time in Malayalam cinema, a toxic partner was accurately depicted, rather than romanticised. Asif played him with unsettling conviction, gradually bringing out all his simmering toxicity to the fore. The actor expertly navigates the two phases in Govind: the initial, seemingly loving behaviour and the subsequent, disturbing reveal of his true toxic nature. Uyare was his 60-something film and also his first truly revelatory performance.

Kettiyolaanu Ente Malakha (2019)

Nissam Basheer tackles the dicey theme of marital rape in his debut directorial (written by Aji Peter Thankam), set against the backdrop of a sprawling rubber estate in central Kerala. At the core is Sleevachan, a young and hardworking villager who lives with his widowed mother. After marriage, Sleevachan’s ignorance of consent culture leads to a devastating incident of marital rape, causing chaos in both families. Eventually, a chastened Sleevachan realises the gravity of his action, leading to a reconciliation.

Although the film downplays the severity of the crime, Asif’s poignant and nuanced portrayal of Sleevachan stands out as a significant takeaway. What’s impressive is the consistency in which he absorbs the complexities of Sleevachan. Even during the most emotionally high-strung moments, Asif doesn’t let go of the trademark naivety of Sleevachan, which is studiously maintained in his mannerisms and manner of speaking. His finest moment comes in that penultimate scene when he is tearing up with gratitude for getting a second chance for redemption.

Kaattu (2017)

In this period drama directed by Arun Kumar Aravind (written by Ananthapadmanabhan) set against the rustic backdrop of a hilly landscape, Asif plays Noohukannu, a shy and endearing simpleton. When he is rescued by Chellappan (Murali Gopy) from the clutches of an abusive Toddy shop owner, it leads to an unforgettable bond with his savour. Despite the film’s meandering subplots, this poignant relationship is the emotional anchor that holds the narrative together.

Noohu is a strange lad, with thick curly hair and a perpetual scowl, giving the impression of a half-wit, yet Asif infuses the character with depth and vulnerability. It’s a character that can easily fall into the realm of mimicry, but Asif handles him with flair—be it the awkward discovery of love, his sulky resentment for being taken for granted, or the remorse that follows his actions. So much so that Asif’s compelling performance ensures that Noohu’s exasperating behaviour becomes an integral part of his charm.

Anuraga Karikkin Vellam (2016)

Abhi is a perpetually disgruntled young man who seems to be at odds with the world. Not only does his discontent simmer just below the surface, but it often boils over into unpleasant interactions with those around him, including his girlfriend Ellie (Rajisha Vijayan). Her insecurity and nagging stems from his indifference and it is easier to see that Ellie is better off without him after their break up.

Asif effortlessly brings his sulky, grumpy personality to life, capturing his exasperation, rudeness, diffidence, and impatience with ease. The character’s coming-of-age arc is nicely defined by the actor’s spontaneity in this film directed by Khalid Rahman and written by Naveen Bhaskar.

Salt N' Pepper (2011)

One of the earliest films (directed by Ashiq Abu) that cemented his reputation as a master of portraying the sulky boyfriend archetype. He plays Manu, a happy-go-lucky lad who will flirt with the first available girl on sight. He is that chap who means no harm but would consistently try his luck with women, often without considering the consequences. When he agrees to go in place of his uncle for a date, he has no idea that he will end up falling in love with the woman.

Manu unaware of the complicated dynamics, never misses an opportunity to let his uncle know that she is no match for him. It’s one of those instances when it’s difficult to delineate the actor from the character and Manu’s immaturity and impulsiveness sits lightly on the actor. It’s one of the earliest films (written by Shyam Pushkaran and Dileesh Nair) that showed he has a talent for portraying relatable, flawed characters.

Adios Amigo (2024)

In this film directed by Nahas Nazar (written by Thankam), Prince Paul Kurian is the last person you would want to be stranded on an island with. The spoilt brat of a rich businessman, despite being cut off financially by his father, Paul continues with his reckless ways. An alcoholic, he would frequent star hotels and bars and spend freely, along with befriending anyone who came his way. When he meets Priyan who is in a financial mess, though reluctant the latter eventually falls in line with his plans.

Again, Prince is way out of the actor’s comfort zone, embodying an obnoxious aimless character, who disregards boundaries and is constantly in a state of intoxication. Not only does Asif master a different dialect but he also has the uphill task of consistently portraying Prince’s grating, exasperated personality. Yet, amidst this chaos, there are also instances when you feel an odd empathy for Prince, making the character complex and intriguing. That he succeeds in being both intriguing and cringe-worthy (just as the character demands) makes it a winner.

Kishkindha Kaandam (2024)

Until the truth is unveiled Ajay Chandran, in this film directed by Dinjith Ayyathan and written by Bahul Ramesh, is a man wrestling with inner demons. He has an awkward relationship with his father (Vijayaraghavan) who has dementia and seems to have a rather casual bond with his new bride. The search for his missing son is already causing more emotional strain, exacerbated by his father’s erratic outbursts. Much later when the mystery unfolds, Ajay Chandran’s complex arc begins to take shape.

What Asif does here is simple—he skillfully maintains an enigmatic tone while keeping us emotionally invested in the proceedings. He is particularly on point during his interactions with his father, conveying a poignant mix of guilt, despair, and helplessness.