Release
date:
|
Kerala: March 31, Delhi: April 20, 2018
|
Director:
|
Tinu Pappachan
|
Cast:
Language:
|
Antony Varghese,
Chemban Vinod Jose, Vinayakan, Tito Wilson, Sinoj Varghese, Aswathy
Manoharan, Lijo Jose Pellissery
Malayalam
|
When a film’s
leading man is Antony Varghese, the handsome hottie who shot to fame as Vincent
Pepe in last year’s groundbreaking
hit Angamaly Diaries; when Angamaly’s director Lijo Jose Pellissery
and writer Chemban Vinod Jose are its co-producers; when Pellissery has a cameo
in this film, Jose a major supporting role, and another important character is
played by Tito Wilson who was Angamaly’s U-Clamp Rajan; when the same
technical team is on board here too; and when Pellissery’s associate on that
project, Tinu Pappachan, is the director of this one, of course speculation
will arise, as it has, about possible similarities between the two films.
So let us get this question
out of the way first: no, Pappachan’s debut directorial venture, Swathanthriyam Ardharathriyil, bears no resemblance to Angamaly Diaries.
That 2017 film was
an earthy, profoundly insightful take on gory gang wars in a Kerala town. This
one is an action thriller set in a jail complex as a new inmate plans a break.
Antony Varghese
plays Jacob, a finance firm employee who ends up behind bars for a bloody crime
involving a policeman and linked to the woman he loves (Aswathy Manoharan). As
soon as he enters this all-male universe, he starts trying to get out.
The film is as much
a series of observations on the experience of being a prisoner suffering filthy
toilets, mucky food and constant aggression, as it is about the protagonist’s
escape strategy. Its title, which means “Freedom At Midnight”, refers to the
date (August 15) and time Jacob chooses to take flight.
To say that Swathanthriyam Ardharathriyil is elegantly shot is stating the obvious. Girish
Gangadharan is one of Mollywood’s finest cinematographers, and his
approximately 11-minutes-long uncut single shot of two rival groups battling it
out on a crowded street during a jampacked church festival in Angamaly Diaries is still fresh in
public memory.
He seems to be
enjoying himself in Swathanthriyam
Ardharathriyil, playing around with the rain, close-ups of faces and the
hero’s pretty eyes. Those frames provide a telling contrast to an arresting
aerial view of the jail that highlights its sparseness in comparison with the
verdant surroundings and the isolation of its inmates from the bustling world
outside. The camera pulls out to that shot in an attention-getting staccato
manner.
Gangadharan is at
his astonishing best during a ferocious fist fight between two men in a muddy
underground tunnel. Shameer Muhammed’s editing sleekly interlaces those orange-lit shots with the
stillness and gray-blackness of the night overground.
Their work is
beautifully teamed with Deepak Alexander’s throbbing background score.
Alexander’s percussion-heavy instrumentation is particularly effective because
Pappachan knows when to use it and when not, occasionally letting the film’s
soundscape go blank to dramatic effect.
That said, it
speaks volumes about Swathanthriyam
Ardharathriyil that I gravitated towards waxing eloquent about its
technical accomplishments before describing its characters. Stylish and
suspenseful though it is, the film remains fun at a superficial level because
the people in it do not come alive as they should in Dileep Kurian’s
screenplay.
And so we never get
to understand Jacob as anything beyond a good-looking guy with a ticking brain.
Chemban Vinod Jose’s Devassy, nicknamed Kallan (Crooked) Devassy, is never more
than a criminal who becomes Jacob’s strongest collaborator. Simon (played by
the wonderful Vinayakan from Kammatipaadam)
is a brute and an unlikely ally. Vattan (Crazy) Girijan, played by Sinoj
Varghese, is the prisonmate whose deceptively off-kilter façade masks a sharp
mind. Tito Wilson’s character is at all times only the chap who will not forget
that his own attempt at fleeing was impeded by Jacob. As for the
drug-peddling twins, they are…well, they are twins who love each other, that is
it.
This stupendous
cast is capable of great things when given substantial writing material. Antony
Varghese, for one, has the confidence and camera-friendliness of a seasoned
artiste although this is just his second film. The entire troupe marks their
presence in Swathanthriyam Ardharathriyil
because of their personal charisma, but the screenplay does not flesh their
characters out with emotions and motivations we can be invested in.
Even the cultural
details that have made Pappachan’s mentor Pellissery’s earlier works so
pleasurable are absent here. We are told Swathanthriyam
Ardharathriyil’s jail is situated
in Kottayam, but frankly it could have been placed elsewhere without making an
iota of a difference to the storyline or its treatment.
The writing of
Jacob’s scheme also required greater thought. While some of his ideas are
clever, too many things fall too conveniently into place, and we are expected
to buy into too much of what happens just because it does. For instance, without
giving anything away, let me just say you cannot throw an unlimited amount of
liquefied or soft solids other than faeces down a toilet without clogging it.
And, (spoiler alert) did the police in a prison housing murderers lack firearms
and communication equipment that night?
Swathanthriyam Ardharathriyil still remains
entertaining because Pappachan’s
adept direction, his cast’s appeal and his tech team’s sophistication keep the
thrills going when all else falters. The atmospherics, the haunting ugliness of
that prison complex and the suspense hold out enough excitement to make this a
watchable albeit flawed film.
Rating
(out of five stars): **
CBFC Rating (India):
|
UA
|
Running time:
|
138 minutes
|
This review has also been published on Firstpost:
You conveniently call him a "handsome Hottie" ! If a male critic had similarly labelled an actress as "Pretty Hottie", wouldn't your feminist soul burst out popping a vein??
ReplyDeletePuss in boots :)
Hi Unknown victim who does not even have the courage to post your real name,
DeleteThis sense of male victimhood is both boring and laughable. Show me one place where I have objected to a male critic calling a female actor pretty or hot in a review. Seriously, get over your persecution complex.
Regards,
Anna M.M. Vetticad