Sep 17, 2014 11:03 PM
4842 Views
(Updated Sep 17, 2014 11:04 PM)
There are some movies that one wishes to watch again. Drishyam, which follows the shocking interruption to a family's peaceful lifestyle and their cat and mouse game against the police and papparazi, is one such experience.
Investigative movies generally follow a who dun nit pattern, and in Malayalam usually consist of a know-it all hero who is always one step ahead of the audience(e.g. CBI Diarykuruppu etc). Here, it is the reconstruction of a crime through the actions of a set of deeply flawed characters that is particularly unique.
You have a poorly educated man who is an eccentric movie lover and improviser, locking wits against people with more resources at their disposal, creating nail-biting situations. In Georgekutty, director and writer Jeethu Joseph has created one of the more memorable characters to hit celluloid in recent times. Some of us crazy movie-buffs can identify with his actions!
Drishyam is first and foremost a directors' film. Setting up the characters and situations in a serene first half which seems to be heading in the direction of a typical family drama, he takes us on an emotional roller-coaster during the film's latter half, culminating in a spellbinding climax. Subtle links through relationships between characters and characteristics of certain individuals are cleverly established and realised upon repeat viewings.
Not one second of the film's 2 hours and 40 minutes drags. What enhances the film even further is the dramatic yet not overloud background score, brilliantly used in the climax scenes, and Sujith Vasudev's cinematography, effectively capturing both the deceptive peacefulness of the village and the subtle facial expressions of the actors. Both the songs help in moving the story forward, particularly the haunting'Nizhalin'. If there are criticisms to be made, the violence in the latter half of the film is somewhat extreme, and the initial title sequences are drawn out.
Amongst the talented cast, special mention should be given to Kalabhavan Shajon, whose almost animal like transformation arouses a sense of terror and hatred amongst the audience, and Asha Sharath, who is convincing both as the IG on the hunt for justice and the silently grieving mother. Mohanlal usually aces these types of roles, but it is a welcome relief to see someone who has frustrated his fans on many-an-occassion return to his down-to-earth roots. What's especially worthy of praise is the agony and helplessness that he conveys through voice modulation in the second half. Meena, Siddique, the two children and the rest of the supporting cast do full justice to their roles.
The best movies can be analysed through multiple layers, and Drishyam raises pertinent societal issues of the importance of family bonding during a crisis, safety of women in unfamiliar places, parental development of teenagers and so on. However, it avoids preaching to the gallery or taking sides, instead leaving us pondering the rights and wrongs of the actions of these characters with shades of grey.
Overall, Drishyam is one of the best movies to have hit the big screen in recent times, and is arguably worth re-visiting on a regular basis, for its gripping story and realistic, effective performances. Unfortunately, Jeethu Joseph, who has been on a roll with his previous movies and on peak form on this occasion, will now carry the burden of Herculean expectations for his next project!
