Veteran director Rajeev Nath's latest, Pakal Nakshatrangal, is genuine and sensitive. In hero Mohanlal's own words it is "a shockingly original" offbeat flick. The plot is about celebrated script writer-director Siddharthan (Mohanlal) who died in mysterious circumstances. Despite its near-natural portrayal of the secrecy surrounding the film maker's death and interesting observations on Malayalam cinema in the early eighties, Pakal Nakshatrangal, as a commercial film, does not leave you amused or entertained. However, for lovers of art films, Pakal Nakshatrangal is a must-watch.

Adi Narayanan (Anoop Menon), only son of Siddharthan, is a writer who decides to write a new book, a biography about his father, his relationships and the mysteries behind his death. (His death occurred when he fell from the second floor of a building.) He meets many people associated with his father, including retired police officer Thilakan who had investigated the death of Siddharthan. Thilakan reveals that has many reasons to believe that the Siddharthan was murdered.

While digging out more facts about his father, Adi finds out that his father had a 'way with women', and met his friends in an erstwhile cultural hub for drinks and other pleasures. He even meets Dr. Vaidyanathan (Suresh Gopi), a man who professes to communicate with the souls of the departed. After completing the book, Adi shares with his wife Padma (Lakshmi Gopalaswamy) everything that he learnt across during his research. His narration about his father's history forms the entire plot of Pakal Nakshatrangal. The narrative unfolds in anecdotal flashbacks as the writer and his wife discuss the book.

Mohanlal has done justice to his role as Siddharthan, enacting the role effortlessly as usual. Suresh Gopi's performance as Dr. Vaidyanathan seems overdone and far from convincing. Anoop Menon as Adi is good, while Lakshmi Gopalaswamy looks pretty but has little to do.

Malayalam cinema in the early eighties has been well-captured, giving a sense of déjà vu. The film's narration lags in many places, maybe because it attempts to unconvincing convey too many random personal observations and personal philosophies on sexual freedom, perversions, pseudo intellectualism, hypocrisy, mysticism and life after death. Serious moviegoers interested in such subjects may find these discussions thought-provoking, but not the general public.