The sight of someone attempting to carry a burden too heavy for them is often as excruciating for onlookers as it is for the individuals themselves. “Little Hearts,” the latest offering from directors Aby Treesa Paul and Anto Jose Pereira, presents a similar spectacle. The film endeavors to infuse progressive elements into a rather conventional narrative but grapples with its ambitions, ultimately leaving audiences with an uneven and unresolved experience.
“Little Hearts” attempts to broach significant social issues, aiming to be a catalyst for change much like Jeo Baby’s acclaimed film “Kaathal,” which left an indelible mark on conversations about homosexuality. “Kaathal’s” genuineness and the earnestness of its creators shined through, contributing to progressive discourses. In contrast, “Little Hearts” appears to approach its progressive elements with a half-hearted enthusiasm, akin to an advertisement aiming to garner favor from a progressive audience without deeply committing to the cause.
Central to “Little Hearts” is the story of a homosexual character grappling with the decision to come out to his family, a rural household in the high ranges. However, the character’s journey is embedded within a feel-good family drama, which frequently veers towards a crowd-pleasing narrative. This dichotomy results in an inconsistency – while the film occasionally deals with the character’s struggles sensitively, it often resorts to light-hearted jests about his sexual orientation, undermining the gravity of the issue.
Once the film has leveraged the homosexual character to establish its progressive stance, it sidelines him, focusing instead on two more conventional relationships. Of the three central relationships, the one between the lead characters Sibi (played by Shane Nigam) and Shosha (portrayed by Mahima Nambiar) is notably underdeveloped. The childhood friends predictably fall in love, with insignificant conflicts thrown in to extend their story until the climax. This part of the narrative feels formulaic and lacks depth, resonating more as filler content rather than as a substantial storyline.
In contrast, the film takes more care in depicting the relationship between Sibi’s widower father Baby (played by Baburaj) and a single mother. Their story, imbued with the resistance they face from their tightly-knit community, alongside their mutual longing, provides some of the film’s most compelling moments.
. Moreover, the father-son dynamic injects moments of warmth and humor, offering occasional respite when the narrative loses direction.
The film’s structure initially feels disjointed, with a succession of songs lacking purpose or context, further detracting from audience engagement. The narrative struggles to find its footing until the introduction of the homosexual character. However, even his story arc ultimately receives a raw deal, as his journey is neither given the prominence nor the resolution it deserves. This mishandling serves to muddle an issue already fraught with societal misconceptions, doing a disservice to the very cause the film aims to support.
“Little Hearts” unfolds as a film with noble intentions but falters in execution. It aspires to shed light on critical social issues but does so with a lack of conviction and clarity. By the time the credits roll, one is left to ponder the potential that lay within the narrative threads, untapped and underexplored.
Despite its faltering pace and unresolved arcs, there are moments within “Little Hearts” that do shine. The depiction of Baby’s relationship and the familial bonds offer glimpses of what the film could have been, had it not tried to juggle too many themes without a coherent strategy.
As it stands, “Little Hearts” offers an intriguing yet inadequate reflection of contemporary societal struggles, particularly those of our LGBTQ community. The need for thoughtful and sincere representations in cinema is more evident than ever, and “Little Hearts,” in its flawed attempt, highlights this necessity. The film is currently running in theatres, inviting viewers to witness its attempt at progressivism.
Ultimately, “Little Hearts” is a bittersweet endeavor—a film that holds the promise of depth and meaning but remains a half-baked effort in striking a balance between being progressive and appealing to a wider audience.
