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In Lucifer (2019), political succession, party maneuvering and criminal networks give the story an expanding scale. But critic C. S. Venkiteswaran argues that its many references and characters ultimately orbit one force: Mohanlal’s star persona. “One god” is his metaphor for the film’s star-centered vision, not a literal claim or a consensus verdict.
What is Lucifer about?
Lucifer is a Malayalam action, crime, drama and thriller film released on 28 March 2019. Prithviraj Sukumaran directed it, Murali Gopy wrote it, and Antony Perumbavoor produced it. Mohanlal, Vivek Oberoi and Manju Warrier are among its cast, according to Aashirvad Cinemas’ official film page.
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The official synopsis begins with the sudden death of Chief Minister PKR. His death leaves a power vacuum and draws Stephen Nedumpally into a struggle over PKR’s legacy and family. That succession crisis gives the film its political starting point.
Who is Stephen Nedumpally, and what are his other names?
Stephen is the figure at the story’s center, but the film presents him through several identities. C. S. Venkiteswaran’s 20 April 2019 review for Scroll identifies his other names as Esthapan, Lucifer and Khureshi Ab’ram. The shifting names help the story widen its sense of who Stephen is and how far his influence reaches.
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Prithviraj Sukumaran also appears as Zayid Masud, whom the review describes as a warrior in Stephen’s service. This relationship helps connect Stephen’s political world to the more expansive criminal world the film eventually invokes.
How many layers of politics and crime does the story contain?
Venkiteswaran maps a progression from a family succession dispute to party politics, then to a national drug network and a global criminal organization. These are layers of the film’s fictional plot, not allegations about real political figures or institutions.
- Family: PKR’s death sets off a contest over his legacy and family.
- Party politics: The struggle expands into the political organization and its power arrangements.
- National crime: The story brings in a drug network operating at a wider scale.
- Global crime: The criminal world expands again, giving Stephen’s identities and reach an international dimension.
The shifting scale gives Lucifer the breadth of a political thriller that keeps revealing larger networks. Venkiteswaran’s criticism is that the references and mythic gestures do not have enough room to resonate independently; he sees them as additions to a story whose strongest organizing force is Mohanlal’s screen presence.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Why does the review call Mohanlal the film’s “one and only god”?
Venkiteswaran uses “god” as a critical metaphor for the way he believes Lucifer is organized around Mohanlal’s star image. He argues that the film’s many textual and mythological references do not develop into competing centers of meaning. Instead, in his view, they ultimately reinforce the centrality of the star.
The review’s sharpest formulation is: “The references are mere add-ons to the monotheistic vision of the film that pays obeisance to the one and only god: Mohanlal.” The line expresses one critic’s interpretation, not an objective description of how every viewer must experience the film.
That interpretation also draws on the contrast Venkiteswaran sees in Mohanlal’s character: Stephen moves between the ordinary and the superhuman, and between vulnerability and vengeance. The character can therefore seem both embedded in the political drama and larger than it. The film’s expanding networks may multiply the plot’s scale, while Mohanlal’s performance remains, for this critic, its emotional and dramatic center.
What does the review criticize about the film’s politics and gender?
Politics as conspiracy
Venkiteswaran reads the film’s political world as dominated by conspiracies and criminal interests. That is the reviewer’s critical assessment of the story’s portrayal of power, not a factual claim about real-world politics.
Women’s limited presence
The review acknowledges moments involving PKR’s daughter and granddaughter but argues that women otherwise have limited presence in the film. It also objects to the plot device of a false sexual-abuse allegation. These points identify a specific criticism made in one review; they do not establish a universal response among viewers or critics.
What is established about the political-money figure mentioned in the film?
Venkiteswaran reports that an opening card in the film claims 75% of money entering Indian politics comes from dubious sources. The underlying source for that figure is not verified in the review, so it should be understood as a claim shown in the film, not as an independently established statistic.
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