A prolonged honeymoon of his debut film has not caused any dent in the craftsmanship of Dileesh Pothen. Again, he reminds us that simplicity and sincerity are priceless in the narration. Thondimuthalum Driksakshiyum has his typical rhythm in treatment. The film takes off gradually, but even after establishing the pivotal moments, the director binds it to reality. The infectious grin that usurped you while watching “Maheshinte Prathikaram” is back, but here, it comes accompanied by a tad bitter truth.
The notable part is that Pothen does not take the effort consciously to appease the senses of the viewers. Instead, he introduces new realms of delineating a theme and of course, with the aid of interesting premises. When Prasad (Suraj Venjaramoodu) shifts base to Kasargod from Alappuzha with his wife Sreeja (Nimisha Sajayan), the mood of the film also changes.
Shunned by Sreeja’s family, they settle in Kasargod and engage in farming. Misfortune strikes them in the form of a bus journey. Sreeja loses her chain in the bus and she rightly suspects a passenger named Prasad (Fahad Faazil), who gulps down the two-sovereign chain. After the commotion, the bus reaches a police station.
Now, the real game begins with the involvement of a host of police officers. Interestingly, the complainant and the suspect carry the same name (may be a trick played by the thief). Despite several rounds of interrogation and duress, the thief is adamant that he is innocent. The intervention of police officer Chandran (Alencier) makes the case interesting.
Suraj emphasizes his caliber as a stupendous actor. He brilliantly portrays the haplessness of an ordinary man mired in a tricky circumstance not because of his fault. In the canal scene where he desperately attempts to catch the thief, his emotions reinforce how deeply he has conceived the character.
Nimisha Sajayan aptly fits the bill and she exudes well the feelings of an ordinary woman, who is sharing the pangs of losing her gold with her husband.
As usual, Fahad Faazil shows complete justice to his character. His disheveled mien and cunning nature provide an intense reality to the whole action. The delightful cinematography of Rajeev Ravi is a major positive addition to the film.
Visuals of the location of the police station, the temple opposite the road and the dry vast terrain lend a charm to the treatment. The first shot of the police station premises (a lengthy shot showing a policeman walking with a pickpocket, who carries water) stresses again the presence of Rajiv Ravi behind the frames.
It would be an erroneous act if you carry the remnants of Pothen’s maiden film while watching Thondimuthalum Driksakshiyum. This is for your new experience, though you will miss the usual twists and turns in films. But it certainly has something to put forward before you to ponder on.
As noted writer-director Padmarajan had once said: “A film should not be made according to the need or sensibilities of the viewers. A director should bring them within the purview of his own aesthetic sense.” After his two films, Pothen too underlines that it’s high time we changed our outlook towards films.
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