Why Naslen Might Be The Next Malayalam Cinema Star In The Making

MELVIN has no filters. From offering bakery treats to his friends by claiming he has a rich dad to squealing to the same bunch that he might need a loan to repay all that they ate, Melvin’s irreverence is enchanting. The spontaneity is a throwback to those from Innocent and Jagathy Sreekumar. In a film headlining a bunch of teenagers, centred around a cutesy teenage love story, Naslen, as this beetle-browed, wide-eyed teen who took himself rather seriously was unexpected. The goofiness was original, and his one-liners, droned in his local slang were crackers. There was an honesty with which he jibed that brought the house down. But even then one had no inkling as to how this 19-year-old’s trajectory would evolve in Malayalam cinema. The time was ripe—Malayalam cinema had opened its doors to newer talents, provincial stories, and fresher milieus. They were gradually stepping away from alpha male-centred narratives and diving into the arcs of flawed, ordinary humans. That meant there was space for all age groups to thrive and tell their stories. That’s how Girish AD came up with a Thanneer Mathan Dinangal, which had a narrative filled with characters averaging between 15 and 25 years. “Naslen was very genuine, which was a rare thing to see in cinema. When he spoke in that native slang, we knew he was on. He didn’t need an audition,” recalls director Vineeth Vasudevan who auditioned actors for Thanneer Mathan Dinangal in an interview.

In the 1980s when a 16-year-old Rahman debuted in Padmarajan’s Koodevide as a lost teen who formed an endearing bond with his young teacher, it was perhaps the earliest instance when a teenage heartthrob had made his mark in Malayalam cinema. But the '80s was also the period that witnessed literature-heavy screenplays. So, while Rahman had his share of Kanamarayathu, Ente Kanakuyil, and Thammil Thammil, he was also part of multi-starrers where he played characters that belied his age. Rarely did he feature in narratives that explored the intricacies of someone his age or better still with lighter feel-good stories. A similar scenario can be said about Kunchacko Boban who debuted a decade later as a love-struck 21-year-old in Fazil’s Aniyathipravu. Again, except for Niram, the actor seems to have quickly shifted to adulthood in no time. That’s where young actors like Mathew Thomas, Naslen, Anaswara Rajan, and Mamita Baiju were fortunate. They always found stories written for them.

Naslen’s growth has been organic. Soon after that fun debut, he played a cameo as the younger version of Dulquer Salmaan in Anoop Sathyan’s Varane Avashyamundu (2020). Perhaps Manu Warrier’s Kuruthi (2021) was the first instance that showed that he had more tricks up his sleeve. The angry and malleable Resul, who is already inducted into a fold powered by religious extremists was a tiny hint about his adaptability. “I remember telling Murali Gopy that he is star material while doing Kuruthi,” admits Prithviraj Sukumaran in a recent interview.

But it took a few more films for the actor to come on his own. The ones that came later mostly explored his fun side—be it the precarious youngest son who shoots Insta reels in Rojin Thomas’s Home (2021), or the pesky brother in Afsal Abdul Lateef’s Pathrosinte Padappukal (2022). But at other times, he added quirks to what seemed regular characters on paper. Take Rohit in Sathyan Anthikad’s Makal, Sangeeth in Girish AD’s Super Saranya, and Manoj in Arun D Jose’s Jo and Jo—all are hopelessly in love and trying every trick in the book to woo their women. Rohit even slips into the garb of a Bengali labourer to impress her dad. While Sangeeth would rather silently hang around Sharanya (Anaswara Rajan) than admit his love for her. Manoj has been secretly in love with his friend’s older sister for years but never dared to admit it. He is happy just being around her. Even when Aparna (Devika Sanjay) is evasive, Rohit quietly pursues her, without ever intruding into her life. While Sangeeth knows his boundaries (a coward as well) and would rather be her friend and patiently bide his time. Ideally, characters you have seen on celluloid a zillion times, yet Naslen handles them with an impish charm that lends originality to them.

In Irshad Parari’s Ayalvaashi (2023) for instance, he plays the younger brother of Soubin Shahir and despite the brief screen time, he lends some heft to Paachu who finds himself thrown into the family conflicts.

Though he is the reliable friend of Mathew Thomas in Sudhi Maddison’s Neymar (2023), Naslen’s Shinto is the most reassuring sight in the film, along with the indie canine. Though the film doesn’t have much going in its favour, Naslen’s earnestness shines through along with his easy bromance with Mathew. A similar easiness is there in Arun D Jose’s Journey of Love 18+ (2023) in which he plays a party worker who elopes with the daughter of the party’s local secretary. Look out for those initial courtship scenes—when Athira declares her love, Akhil is uncertain and takes a while to wrap his head around it. Naslen is particularly good in those portions, especially in how the goofiness works its magic here. The actor absorbs the nuances of his character who hails from a different caste-socio-economic background than his lover. The unpretentiousness and vulnerability are subtly captured in that performance.

Sachin Santosh in Girish AD’s Premalu (2024) can be stated as an aggregate of all the characters in his five-year-old filmography. There is a little bit of all the characters he essayed in Sachin, yet he stands out, partly due to how finely he is written. Sachin is later shaped in the hands of Girish AD, his mentor who adds tiny inflexions to the character, that are distinctively Naslen’s. And for Naslen inhabiting such a character takes the least bit of effort. The oafishness, understated charm, uncertainty, naivety—it is all there, in the right dosage. Look out for that bit soon after Reenu’s friend cautions him against proposing to her—he does a little tipsy jig at the pub and drops on the floor. Or that proposal scene where he tries hard to hide his disappointment or that moment with Amal Davis when he plops on the bed and cries his heart out. Naslen’s comic timing is also on point when he conveys to Amal Davis that he has been a hapless listener to the cheesy conversation between Davis and his lover. And that penultimate portion where he cuts down his rival Aadhi to size is Naslen at his spontaneous best. SS Rajamouli at the Premalu Telugu success meet, particularly raved about that casual greeting he gives to Reenu at the final party.

“I think these kids all have star quality. That they hail from non-filmy background is also a plus,” says Girish AD.

Naslen has been inundated with films post the stupendous success of Premalu, which was distributed by SS Rajamouli’s son in Telugu. He has signed Girish AD’s I am Kathalan, Khalid Rahman’s untitled sports comedy, Abhinav Sundar Nayak’s Mollywood Times, Premalu 2, and a Wayfarer films project with Dominic Arun.

The only area Naslen needs to work on is his local slang which can be a hindrance if he hopes to experiment with roles. Historically all our successful leading heroes had a neutral slang. Only comedians have had that localised slang to their advantage (Innocent, Oduvil Unnikrishnan, Jagathy Sreekumar). Otherwise, the 23-year-old for now seems to have a good head on his shoulders. Be it picking the right films or his general attitude (he is called Mr. Congeniality by the industry folks). For now, Naslen K Gafoor seems to be in for the long haul.