“Lucifer 2,” also known as ‘Empuraan’, starring Mohanlal and directed by actor-turned-filmmaker Prithviraj, has already ignited discussions regarding its well-crafted anti-national agenda, religious intolerance and divisive propaganda. However, these debates have only skimmed the surface, focusing on isolated scenes and events. A deeper, more critical analysis reveals that ‘Empuraan’ is far more insidious than initially perceived. It conveys an unprecedented message of communalism, separatism, and anti-nationalism—arguably the most extreme ever witnessed in Bharat’s cinematic history. To substantiate this claim, we must delve into the plot of L3, the next installment of ‘Empuraan’, titled ‘Lazarel’. Only by unravelling its underlying narrative can we fully grasp the extent of its ideological implications
Hidden Hatred and the Separatist Agenda Within Empuraan
In Lucifer, the first part of the Empuraan, Stephen (Played by Mohanlal) tells the priest in the Christian church, “Father, you can only confess for the sins you have committed, not for the sins you are about to commit.” This statement perfectly reflects the state of Empuraan, which, despite undergoing 24 voluntary edits, remains deeply communal, setting the stage for separatism in ‘Lazarel’, the third part. Writer Murali Gopy, director Prithviraj, and the unseen extremists who have infused their pens with communal ink are crafting even greater sins to be reckoned with in ‘Lazarel’. They are subtly laying the foundation for an anti-national narrative, one that is set to unfold fully. This begins with the hidden hatred embedded in ‘Empuraan’ and culminates in the outright separatism that will emerge in the upcoming ‘Lazarel’.
Let’s delve into the hidden hatred within Empuraan: Why does Stephen, who has been deeply immersed in the Bombay underworld, find himself entangled in the Gujarat riots? There are two key reasons behind this connection. First, it stems from the negative perception held by the Red-Jihadi duo toward Modi and Amit Shah and the portrayal of a riot-victimized pregnant woman—symbols they associate with fascism. The second reason is even more significant. The Gujarati community has had a long-standing presence in Kerala, particularly in the Malabar region, where they have traditionally been involved in trade. However, their commercial influence has faced stiff competition from Kerala’s Muslim traders. Over time, the Muslim community has managed to gain the upper hand in business, largely due to the prevailing perception that has kept the Gujarati traders at a disadvantage. The film appears to channel Islamic ideology, framing the Gujarati trader community as the “enemy” in this context—not for historical accuracy, but purely for business interests.
Equally important is the use of the term Malabari. While Madrasi was once a common, albeit inaccurate, way to refer to Keralites, Malabari is a much rarer term. Historically, it has been associated with the demand for a separate Malabar state—a concept introduced years ago and recently revived by figures like the Cutting South activists. In the context of Empuraan, this term is not merely a casual reference; it ties into a larger narrative of regional division and identity, subtly reinforcing separatist undertones within the film.
The More Dangerous Third Part: ‘Lazrael’
L-3 or the Lazrael, symbolizes the Angel of Death—a mediator, the force that separates the human soul from the body in submission to God. When death stood before Saeed in Gujarat, the words Masood instructed his son to recite carried a more profound meaning—a plea to the savior of death. This theme does not conclude in Empuraan but instead paves the way for Lazrael. India now calls upon this man, the ruler of the Valley of Death. L-3 will delve into Stephen’s past while placing Saeed at the center of dominance. In the war between the Trinity concept of China, the Shen Triad, and Stephen’s faction, Saeed will rise as the savior—not just within this conflict but in shaping Bharat’s fate. The plot says, Bharat will soon face the looming specter of death from China. The reason for this is the current political regime under Hindutva. The end-credit visuals of Empuraan subtly depict this narrative, showing China’s increasing dominance—an inversion of reality, strategically woven into the film’s underlying message.
L-1- Promotes Political Instability, L2- Anarchy, L3- the Call for Khalifa Rule to Save Bharat
Lucifer entered the scene as a political film and has now evolved into anarchism by the end of its second installment. The culmination of this anarchy will be ‘Lazrael’, the third part. However, what does this “perfection” of anarchy look like? The end-credit song of ‘Empuraan’ is the title track ‘Lazrael’, which chants: “La-Azrael, you are the Khalifa…” This leads directly into the third part, where the narrative takes a decisive turn. “Khalifa, come and save India from China’s grasp and the fear of death it imposes.” This is the desperate plea Empuraan leaves us with, and it is where ‘Lazrael ‘begins. The potential theme of L-3 emerges—once Stephen is out of the picture, Priyadarshini (or, by implication, Priyanka Gandhi) will enter Indian politics from Kerala, possibly from Wayanad, backed by Saeed’s Lazrael Caliphate ideology.
This is the message subtly woven into the film. Stephen once told Saeed to uphold his revenge against Hindutva until it transforms into a broader movement that inspires more people to rise against it. Thus, L-2 plants the seeds of revenge against the current leadership, while L-3, Lazrael, manifests that revenge through the establishment of a new government under Saeed and his Khalifa. In L-1 and L-2, the film asserts that nearly all politicians are corrupt. So where is the moral dilemma when Jatin Ramdas (Played by Tovino Thomas) aligns with Sajanachandran (Played by Suraj Venjaramoodu)? . There is none. This silence only reinforces one thing—the film is fundamentally built on the idea that Kerala must maintain untouchability toward the BJP at all costs. It attempts to justify this through the portrayal of Bajrangi in L-2 and possibly through a figure resembling Priyanka Gandhi in L-3.
This is precisely why the filmmakers were so eager to give Empuraan a pan-Indian appeal—an attempt ultimately disrupted by vigilant national forces. This is the nickname given by the filmmakers—Indo-Arab ghetto—and it serves as the foundation for the name Abram Qureshi. The connection is deliberate: Abram, often regarded as the patriarch of Islam, and the Quraysh, the direct descendants of the Prophet in India. When Abram and Qureshi unite, they symbolize the formation of an Indo-Arabic relationship. To reinforce this narrative, the Khalifa must rise and fall in the third installment, Lazrael. The film’s title song proclaims, “Lazrael, you are the Khalifa…”—a chant designed to resonate across thousands of voices, likely targeting a pan-Indian appeal ahead of the next Lok Sabha elections.
Movie Jihad in Kerala and the Khilafat 2.0
To achieve this vision, international strategies must be deployed, but first, Modi must be removed. This is the narrative crafted by the filmmakers—an Indo-Arab ghetto pitted against Afro-Chinese forces (as outlined in L-2 or Empuraan). This is the ideological foundation behind Abram Qureshi, even down to the character’s name. The deliberate fusion of Abram and Qureshi is a symbolic reinforcement of this Indo-Arabic connection. However, to counter this, the Khalifa is ultimately brought down in Lazrael. The song echoes: “Lazrael, you are my Khalifa…”—a refrain that aims to spread across the nation just in time for an electoral push. What a calculated execution of Cine-Jihad!. This is nothing short of a Khilafat Movement 2.0. However, Empuraan has unwittingly exposed itself—along with Lazrael. Oh, dear Lazrael, the dreamchild of the Khalifa, there are three formidable powers you have not accounted for—modern India, Israel, and Japan. Your vision of Khilafat is not as simple as it appears in Malayalam cinema, not under the present nationalist regime. Therefore, we will firmly oppose any policy or attempt to divide India or promote anti-national activities under the guise of artistic expression and freedom of speech.
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