Ponman (2025) Movie Review: A Gritty, Gold-Laden Tale of Perseverance and Peril

When I first heard about Ponman, a 2025 Malayalam-language dark comedy thriller directed by debutant Jothish Shankar, I wasn’t sure what to expect. The title—translating to “Gold Man” or playfully riffing on the kingfisher bird—hinted at something quirky, maybe even lighthearted. But what unfolded on screen was far more intense and layered than I’d imagined. Starring Basil Joseph, Sajin Gopu, and Lijomol Jose, this adaptation of G.R. Indugopan’s novel Naalanchu Cheruppakar (Four-Five Young Men) is a gripping exploration of greed, survival, and the murky shades of morality, set against the vibrant yet unforgiving backdrop of Kollam, Kerala. Released theatrically on January 30, 2025, and later streaming on JioHotstar as of March 14, Ponman has sparked plenty of chatter—and for good reason.

The story centers on PP Ajesh (Basil Joseph), a gold dealer with a peculiar gig: he lends precious sovereigns to families for weddings, collecting payment from the cash gifts bestowed upon the bride. It’s a transactional hustle, rooted in the cultural obsession with gold and dowry, but it’s also a lifeline for families too strapped to meet societal expectations. Ajesh is no saint—he’s a pragmatic everyman, hardened by the grind, yet fiercely committed to his word. When he loans 25 sovereigns to Bruno (Anand Manmadhan) for his sister Steffi Graf’s (Lijomol Jose) wedding, the deal seems routine. But things spiral when Steffi’s new husband, Mariano (Sajin Gopu), turns out to be a hulking criminal with no intention of honoring the arrangement. What follows is a tense, often darkly funny chase as Ajesh risks everything to reclaim what’s his, pulling us into a world where trust is a luxury and survival is the only currency that matters.

Let’s start with the performances, because they’re the beating heart of Ponman. Basil Joseph, often known for his comedic flair in films like Minnal Murali, sheds that skin here to deliver something raw and riveting. His Ajesh is a man of contradictions—wiry and unassuming yet doggedly relentless. There’s a scene where he confronts Mariano, his voice trembling with a mix of fear and defiance, and you can feel the weight of every sovereign he’s fighting for. It’s a career-defining turn, one that proves Basil can carry a film far beyond the realm of laughs. Sajin Gopu, meanwhile, is a revelation as Mariano. After standout roles in Aavesham and Romancham, he brings a menacing physicality to this Goliath-like figure, but it’s the subtle cracks in his bravado that make the character unforgettable. Lijomol Jose, as Steffi, is quietly powerful—a woman caught in the crossfire of tradition and male ego, her expressive eyes conveying a story words can’t. The supporting cast, including Anand Manmadhan as the volatile Bruno and Sandhya Rajendran as Steffi’s desperate mother, round out a roster that feels lived-in and real.

Jothish Shankar’s direction is a standout, especially for a first-timer. An acclaimed art director (Kumbalangi Nights, Bramayugam), he brings a painterly eye to Ponman. The coastal town of Kollam isn’t just a setting—it’s a character, its backwaters and bustling streets captured with a gritty beauty by cinematographer Sanu John Varghese. The film opens with a montage of the region, sunlight glinting off the waves, setting a deceptive calm before the storm. Shankar balances the slow-burn tension of the first act with a second half that ramps up into a situational thriller, punctuated by moments of dark humor—like Ajesh’s exasperated quips about the absurdity of his predicament. The pacing isn’t flawless; the initial 40 minutes can feel like a slog as the stakes take time to build. But once the conflict ignites, there’s no looking away.

The screenplay, penned by Indugopan and Justin Mathew, is both a strength and a point of contention. It weaves a compelling narrative that sidesteps preachiness, offering a nuanced take on the dowry system without turning into a soapbox lecture. Instead of vilifying one side, it paints everyone in shades of gray—Ajesh’s stubborn integrity, Mariano’s brutish greed, Bruno’s impulsive loyalty, and Steffi’s resigned agency all collide in a way that feels achingly human. Yet, the film stumbles in giving Steffi the depth she deserves. She’s more a catalyst than a fully realized player, her voice muted until a late monologue that, while powerful, feels like too little too late. It’s a missed opportunity in a story that could’ve dug deeper into her plight amidst the male-driven chaos.

Visually and aurally, Ponman is a treat. Sanu John Varghese’s cinematography doesn’t just frame the action—it immerses you in it, from the claustrophobic interiors of a dingy lodge to the sprawling menace of Mariano’s island hideout. Justin Varghese’s score is equally impactful, threading tension and emotion through every beat, while the soundtrack—including a folk song that nods to Kollam’s culture—grounds the film in its setting. The editing by Nidhin Raj Arol keeps things tight, especially in the climactic sequences, where a standout stunt choreography moment had me gripping my seat.

What makes Ponman linger, though, is its refusal to spoon-feed answers. It’s not a morality tale with clear heroes and villains—it’s a mirror held up to a society where gold and dowry still dictate lives, where desperation drives decent people to dark places. Ajesh’s quest isn’t noble; it’s personal, born from a need to protect his livelihood. Mariano’s cruelty isn’t cartoonish; it’s a product of his environment. Even Bruno, initially a hotheaded thug, reveals layers of vulnerability that make you rethink your first impressions. This ambiguity is the film’s triumph, though it might leave some craving a firmer resolution.

Is Ponman perfect? No. The slow start and Steffi’s underdeveloped arc hold it back from masterpiece status. At 127 minutes, it could’ve trimmed some fat to sharpen its edge. But these are minor gripes in a film that delivers so much—emotionally, technically, and thematically. It’s a testament to Malayalam cinema’s knack for blending grounded storytelling with cinematic flair, a tradition that’s earned the industry accolades in recent years. For me, it’s one of 2025’s early highlights, a movie that sneaks up on you and stays long after the credits roll.

If you’re in the mood for something that’s equal parts stressful and satisfying, Ponman is worth your time. Catch it on JioHotstar or revisit it in theaters if you can—it’s a ride that glitters, not just with gold, but with the kind of storytelling that hits you square in the chest. I’d give it a solid 8 out of 10. Basil Joseph and company have struck cinematic gold here, imperfections and all.