The two family members have become accustomed to Asha (Asha Sharath), father’s wife, son’s mother, being the peacemaker. Although the woman does not intervene much in the argument, she takes her son’s side and at the same time offers to reason with him for the father’s sake. The fourth member and daughter of the family barely appears in the equation and is never called upon to play a role.

Then read – Anomie movie review: Bhavana-starrer is a routine and bloated thriller

There is a palpable sense of yesteryear in Ashikal Aayiram, especially in the way interpersonal dynamics are handled. Hariharan’s weary demeanor, complete with his simple attire and worn-out motorcycle, is sure to evoke the father figure that South Indian cinema inescapably presented until very recently. Ajeesh’s own life of a cash-strapped existence with big desires is reminiscent of the male lead of the said category.

Classic bickering also finds its place, and much of the first half follows a familiar routine of a father and son not getting along. But, just when things threaten to become too predictable, Jude Anthany Joseph and Aravind Rajendran’s script pulls out a clever little trick to subvert our expectations. What would happen if the father adopted his son’s dream and even began to realize it? The answer is not found so easily, but through a long journey that involves self-discovery as well as love and mutual respect.

The best part of the film comes in preparation for this journey, and the fun part is that it is inadvertently initiated by a very entitled and insecure superstar actor (named Sumith Raghavan, played by Sharaf U Dheen). What seems innocuous at first ends up being quite momentous in the life of the Hariharan family, and what follows that incident is a game of one-upmanship between father and son. It is obvious that there could be no clear winner in a scenario like this, and Ashakal Aayiram does well to trace how male egos and long-suppressed passions shape these confrontations.

It is to veteran actor Jayaram’s credit that the story gives his character the most emotional impact. Hariharan’s arc is filled with relatable moments ranging from parental anger and frustration to personal aspirations, and everything in between. The 60-year-old appears comfortable in the performance, which is asked to represent too much, but he never hints that he is out of place. Even the overly sentimental parts are handled deftly.

Kalidas Jayaram, on the other hand, looks slightly disappointed with his Ajeesh. The character lacks the depth that Hariharan boasts, and while he experiences a significant arc in the role, the writing never allows the essence of that growth to fully register. Kalidas gets the obligatory monologue to close things out, but it’s still not enough to leave a strong impression. Asha Sharath holds her own, despite being undermined by the script.

Then read – Aashaan movie review: Indrans leads a gentle but all-too-convenient ode to the underdog

However, Ashakal Aayiram fails to bring out most of its strong central idea. As much as the first half goes smoothly, the second half is undone by unimaginative writing that veers prominently into melodrama. What should have been a study of conflict between generations soon turns into a confusing saga of sacrifices, secrets and whatnot. Superstar Sumith’s increased interest in this father-son relationship seems overdone, and some of the revelations about the characters’ pasts are a little too convenient. Even the outsider-insider stance the film adopts in the climax seems out of place.

Ashakal Aayiram had all the ingredients to be an astute artiste, but sadness overrides him. It still has plenty of fun moments spread throughout its crisp runtime, and those alone could make up for the unevenness in the narrative.