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With a week remaining for the release of actor Prithviraj Sukumaran’s third directorial venture, the highly anticipated Mohanlal-starrer L2: Empuraan, expectations are at an all-time high, especially since the film serves as the second instalment in a planned trilogy that began with Lucifer (2019). Penned by Murali Gopy, Lucifer not only became one of the most successful Malayalam films in recent years but also redefined the mass entertainer formula. Besides deviating significantly from conventional templates and aesthetics found in movies focused on fan service, it also offered a narrative deeply rooted in Kerala’s socio-political landscape, presented in an international cinematic style.
As Empuraan expands the franchise on a much grander scale, the excitement surrounding the film largely stems from how the Prithviraj-Mohanlal-Murali trio shaped Lucifer, delivering an experience unlike any before. As the movie gears up for a re-release on March 20, a week before Empuraan’s premiere, here’s a look at the top moments from Lucifer that set new benchmarks for on-screen mass appeal.
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The intro that defied ‘pan-Indian norms’
After 30 minutes of skilful cross-cutting that offered glimpses into nearly all major characters, their motivations and what’s at stake for them — elements that will be explored in greater depth as the film progresses — Lucifer introduces its protagonist Stephen Nedumpally (Mohanlal) in an understated manner. Unlike conventional mass entertainers, Prithviraj and Murali refrain from giving Mohanlal a grand star entrance. Instead, they focus on the actor in him, first revealing only his eyes and face, which hold a multitude of emotions, carefully concealed beneath an impassive exterior.
While Govardhan (Indrajith Sukumaran) provides fragments of Stephen’s past, the picture he paints is far from heroic. In fact, rather than glorifying him, Govardhan — who is no court bard here — almost casts him in an antagonistic light. It is after all this that Stephen makes his grand entrance, in his black Hindustan Landmaster bearing the number of the beast, 666, to pay his last respects to his ‘godfather’ PK Ramdas (Sachin Khedekar).
Even here, Prithviraj and Murali do not offer, nor does Mohanlal demand, the kind of over-the-top intro to Stephen common in pan-Indian films, where a star asserts his dominance in a spectacular action sequence. Instead, the scene simply highlights the fact that he is a crowd-puller, in accordance with the film’s narrative. And thanks to the meticulous build-up, the moment lands perfectly.
‘The battle is between evil and evil’
One of the most effective (and easiest) ways to elevate a hero and emphasise his authority is by making him deliver long, fiery and grandiose dialogues. This effect is often reinforced through catchphrases or punchlines like Allu Arjun’s “Thaggede Le” from the Pushpa films or Mohanlal’s own “Po Mone Dinesha” from Narasimham (2000).
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However, in Lucifer, Stephen is not just a no-nonsense man but also someone who speaks in a measured, deliberate manner. He neither rambles nor delivers lengthy monologues to make a point. As a result, every word he utters carries far more weight than anyone else’s, further enhanced by Mohanlal’s expertise in dialogue delivery.
In their first face-to-face confrontation, Stephen subtly warns the main antagonist Bimal Nair alias Bobby (Vivek Oberoi) that he will not tolerate drug trafficking under the protective umbrella of their party IUF, delivering sharp lines like “Narcotics is a dirty business” and “Who’s there to save you [from me]?” But more than just a warning, Stephen also makes it clear what kind of rival Bobby is about to face. “The battle is not between good and evil, but evil and evil”, he states, fully embodying his Lucifer persona. This stands in stark contrast to conventional protagonists, depicted as unquestionably righteous yet possessing an unhinged nature and overwhelming physical strength.
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Stephen fights not for the audience
Not only is the action sequence set against the high-energy track “Kadavule Pole” expertly choreographed and shot but also captures several signature elements that make Mohanlal beloved to fans, from his iconic moustache twirl to his dhoti tuck-up style. Beyond that, it too has redefined the way mass appeal is handled in cinema. In most Indian commercial films, the hero fights his enemies in front of a crowd, almost as if performing for the audience — establishing his dominance and making it clear that he is a force to be reckoned with. But Stephen operates differently. While he efficiently eliminates his enemies, he also ensures that no trace of his actions is left behind. Not just that he has no interest in proving his strength to others, but he deliberately keeps it hidden, well aware that revealing it would bring no benefit. This same approach is evident in the jail fight sequence, where the entire scene unfolds behind closed doors, never spilling into the public eye.
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Mohanlal with actor-director Prithviraj Sukumaran, writer Murali Gopy and producer Antony Perumbavoor. (Credit: Facebook/@LuciferOfficialMovie)
Not ‘Enakku innoru per irukku’, but ‘Ente pillere thoduvoda?!’
By the time Stephen is arrested for a crime he didn’t commit, one might expect him to have a dramatic “Enakku innoru per irukku (I have another name)” moment, revealing his true identity. But he doesn’t resort to such theatrics. Instead, in a defining moment that offers a chilling glimpse into his true nature, we see Stephen shed all pretence and transform into the ruthless, cold-blooded mafia boss Khureshi Ab’ram he is for a few seconds. When Mayilvaahanam IPS (John Vijay) strikes him during his arrest, Stephen’s face hardens and his eyes flash with raw ruthlessness and an unmistakable thirst for blood. What makes this moment even more powerful is its trigger: Mayilvaahanam hit Stephen when he reacted to the officer manhandling the children at the destitute home the latter runs. “Ente pillere thoduvoda?! (You dare touch my kids?!)” Stephen roars, pinning a standing Mayilvaahanam by the neck with his leg. As the other cops pull him away, Mayilvaahanam seizes the moment to deliver a blow. But Stephen’s reaction — a cold, piercing gaze — unsettles all, including the audience.
Mohanlal in actor-director Prithviraj Sukumaran’s Lucifer. (Credit: Facebook/@LuciferOfficialMovie)
In Lucifer we trust
After realising that Bobby is not the man she thought he was, Priyadarshini (Manju Warrier) recalls her father PKR’s words — when all doors close, the only person she will have left to turn to is Stephen, whom she had hated all her life due to certain misunderstandings. At this crucial moment, Stephen takes her to the cemetery of an abandoned church, where his mother is buried. However, instead of immediately offering his help, he first shares his story, giving Priyadarshini a chance to see that he is not the enemy she had always believed him to be. Even here, the makers refrain from portraying Stephen as a bigger person and he remains a flawed man. Yet, strikingly, we see a desperate Priyadarshini seeking help from Lucifer and that too inside a church.
No killing spree
Unlike pan-Indian heroes, Stephen, after proving his innocence, doesn’t unleash a wave of vengeance against those who schemed against him; nor does he go on a murder spree. Given that he is Khureshi Ab’ram, he could have, but he chooses not to. Instead, he moves with calculated precision, handling the situation like a true mafia boss. Rather than resorting to mindless violence, he ensures that power is rightfully restored to his ‘siblings’ Priyadarshini and Jathin (Tovino Thomas). Through a masterful display of strategy, Stephen also systematically exposes Bobby’s illegal operations, ultimately stripping him of all power.
Lucifer is gearing up for a re-release on March 20, a week before Empuraan’s premiere.
Ezekiel 25:17
Even in the climax, when the makers could have easily given Mohanlal another action-packed sequence, Prithviraj and Murali Gopy exercise restraint, ensuring the established tone of the movie remains intact. With Stephen’s men already surrounding Bobby, a fight between the two would have felt unnecessary and out of place. Recognising this, the makers opt for something far more chilling — Stephen, or rather Khureshi, delivers the infamous Ezekiel 25:17 passage from the Old Testament of the Bible. And thus, just before executing Bobby, Stephen asserts his dominance, proclaiming himself as “the only Lord”.
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It is also only right before the credits that his true identity as Khureshi Ab’ram is fully revealed to the audience, brilliantly setting the stage for a sequel. With this, the makers also give Lucifer a satisfying conclusion of its own, thus making it appear complete; unharmed even if a sequel never materialises — something many pan-Indian films fail to do these days. As a result, these films often find themselves forced into sequel planning, despite their first instalment falling short of audience expectations, as seen with Salaar and Devara.
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