Marco Review: Unni Mukundan’s Film is a New Low for Malayalam Cinema

Filmmaker Ram Gopal Varma has had his fair share of ups and downs, but his early work still earns him goodwill from audiences. His recent comments on South Indian cinema and its storytelling approach have sparked debate, particularly in light of the Malayalam film Marco, which has been a major box-office success despite its narrative flaws.

RGV’s View on South Indian Filmmaking

Varma remarked that South Indian filmmakers prioritize individual scenes over cohesive storytelling. He noted that many actors are more concerned with their entry sequences than the story itself. While his criticism may seem aimed at big-budget action spectacles like Salaar: Part 1 – Ceasefire or Kalki 2898 AD, Marco also fits this mold, revealing similar weaknesses in its narrative structure.

Marco’s Narrative Shortcomings

What sets Marco apart isn’t its graphic violence but its lack of substance. Unlike films where brutality carries thematic weight, Marco presents cruelty for its own sake. The film features disturbing scenes, including the murder of a pregnant woman, yet fails to deliver any meaningful commentary on violence. Instead, it relies on shock value without depth, a major flaw in its storytelling.

A Protagonist Left Behind

One of the film’s biggest storytelling missteps is how far ahead the audience is compared to the protagonist. The murder of Marco’s blind brother, Victor, is revealed to viewers immediately, along with the culprits and their motives. Yet, Marco spends most of the film chasing the truth the audience already knows. This removes all tension, making the plot feel sluggish and uninspired.

Questionable Creative Decisions

A baffling plot choice is the villain embedding his own son in Marco’s group to derail his investigation—an unnecessary move considering how ineffective Marco already is. Despite constant proclamations of his toughness, he proves incapable of outsmarting his enemies. His failure to act on crucial information results in devastating losses, including the gruesome deaths of his own family members.

The film takes an hour for Marco to even realize he has been manipulated, leaving the audience disengaged for much of the runtime. Even Animal, a film criticized for its storytelling, avoids such blunders by keeping its protagonist’s journey engaging. By the time Marco understands what has been happening, much of the damage—both to his family and to the film’s pacing—has already been done.

While Marco has been commercially successful, it highlights the risks of prioritizing spectacle over solid storytelling. Ram Gopal Varma’s critique of South Indian cinema’s reliance on style over substance resonates strongly in this case. As the industry continues to grow, filmmakers must strike a balance between cinematic grandeur and compelling narratives to ensure lasting impact beyond box-office numbers.