One fine day, when a jewellery company unveiled its ad film, titled Truly Irresistible, it became more than just a showcase of their luxury ornaments. One of Malayalam cinema’s enduring symbols of masculinity, Mohanlal, appeared wearing a richly adorned necklace, bracelet, and a ring... all jewellery that is traditionally marketed to women. And as they say, things went viral. The ad was celebrated for its artistry and boldness, even as it sparked debates about the boundaries of men’s fashion. To some, it was a stirring reclamation of elegance as power; to others, an unexpected departure from the masculine image they had long attached to the superstar.
“The idea was constructed out of a paucity of time,” says the film’s director Prakash Varma, leaning into the memory of its whirlwind genesis. “Considering this was a launch of the brand, the clients wanted something a little out of the ordinary. As part of that conversation, Lalettan suggested they get in touch with me to discuss the project,” he recalls. The timeline was tight, barely 10 to 12 days to conceptualise and shoot, with only a single day available in Mohanlal’s schedule before he left for a feature film. “Usually, I never jump into anything so tight, especially with no idea or concept in hand. However, I was tempted to take up the challenge, as I am always delighted to work with Lalettan.”
By the time Truly Irresistible was conceived, Prakash’s connection with Mohanlal had deepened through a very different collaboration earlier in the year, when he made his acting debut as George Sir, the antagonist everyone loved to hate in the blockbuster Thudarum. What emerged from early brainstorming sessions with his long-time creative partner Hari and Nirvana Films’ executive producer Sneha Iype was not just a jewellery ad, but a moment designed to break a stereotype. “We wanted to explore the possibility of understanding the feminine and masculine fluidity within genders,” Prakash explains. “Since Lalettan was already signed on as the brand ambassador, it felt logical to get him to enjoy the jewellery himself by adorning it, as opposed to him just endorsing it as a regular celebrity ad would traditionally do.”
The finished film frames its idea through an intimate, playful narrative. Mohanlal arrives on set for a jewellery shoot and greets a woman model wearing the necklace to be showcased. She later steps into the makeup room, with the necklace glinting like frost under the lights. Removing it briefly, she places it on the table. Mohanlal’s gaze lingers on it, but he says nothing, quietly retreating to his vanity van. Minutes later, the crew realise the necklace is missing. Inside the van, the tone shifts entirely. Mohanlal stands before a mirror, the necklace now draped across his chest, paired with a matching bracelet and ring. His fingers trace the curve of the piece, his posture softening into quiet grace. Almost instinctively, he raises his hands into a classical mudra, his reflection completing the gesture. For a brief moment, time seems suspended. Outside, the crew searches frantically; inside, Mohanlal is absorbed in a private communion with the jewellery. “I started to explain the concept to him on a call and, even before I could finish, he was completing all my sentences,” Prakash says, the conversation still vivid in his mind, charged with the elation of instant creative connection. “His energy and childlike enthusiasm on hearing the idea were so refreshing and heartening. That gave me wings, and I knew we could pull this off as I had imagined, since he was excited too.”
The clients responded just as positively. “They were very receptive and blindly trusted his judgement and mine because they were sure they wanted to try something out of the box. With all three parties involved and aligned, this project became a joy to execute.” On set, the instant Mohanlal put on the jewellery became a scene Prakash would remember with absolute clarity. “It was magical. All of us got to see a master at work. Lalettan was immersed in the moment, surrendering to some divine power as he wore the jewellery, and we were all stunned into silence. His grace and divinity in that moment are inexplicable. We just watched, mesmerised, as he worked his magic. Once I got what was needed, we moved on. No extra takes.”
If the visuals were the soul of the ad, the music was its heartbeat. “The music worked as a great backbone and helped elevate the mood and held it together beautifully. As part of my research for music, I had some tracks I suggested, and Lalettan is the one who reminded me of the Swati Thirunal kriti that we recomposed for this film with Bijibal. Honestly, this concept exists, and so does the music. It is all part of our own history and culture. This is presented in a new form, that is all.” That historical connection is key for Prakash, who notes that jewellery once signified power and prestige for both men and women. By tapping into the Ardhanarishvara archetype, the composite form of Shiva and Parvathi embodying the unity of masculine and feminine energies, Truly Irresistible sets its tone in the very first shot, where the reflection in the car window frames Mohanlal and a woman together, subtly hinting at the blurring of gendered boundaries. It invites viewers to rethink beauty as a shared human inheritance rather than a domain divided by gender.
The responses have been revealing. In the days following its release, Truly Irresistible was discussed, dissected and debated across social media. Reflecting on the online discussions, Prakash says, “About the reactions and discussions online, it is great to see any kind of engagement and conversation around a commercial. It is rare for an advertisement to start a conversation of any kind. It helps us gauge the pulse of what the people are ready to accept or discard.” Not everyone was ready to embrace the vision. Some took offence, feeling the portrayal clashed with Mohanlal’s established screen image. However, Prakash sees that as part of the process. “The biggest joy was that there was no over-intellectualisation involved. No discussions beyond the required stuff. It was pure instinct, trust, and joy of creating something new together that was at play here.”
For Prakash, who has helmed everything from Hutch's 'You and I in this beautiful world' pug ad to Vodafone 'ZooZoos' to 'Incredible India' campaigns to 'Dubai Tourism' ad featuring Shah Rukh Khan, the takeaway is simple: if an ad can stir people to think differently, even briefly, it has done its job. And somewhere in the heart of this story, Mohanlal is still in that vanity van, eyes gleaming, his hands poised in a dance gesture, speaking the line that carries the ad’s message into memory, “Aarum kothichu pokum! (Anyone would find it irresistible!)”