The immediate resemblences to Hollywood, like 'Taken' and 'Whistleblower', comes to mind, but lets not indulge in that. For one, what else can a sex trafficking movie have if not for the leads searching the truth. Two, this is one great effort from Vineeth and his team, which satisfies a moviegoer in every department in terms of quality (not to be confused with entertainment). Anyway Vineeth accepts that it is inspired from a book.
The screenplay doesn't drag even for a moment. Thanks to the superb fast cuts and ever moving camera work. Both these helped the pace of the movie by a great deal. Not saying there are no flaws, but I am sure the director would have had a discussion about the techniques both the editor and cinematographer would be implementing, and would have thought a lot on the treatment. Some places the camera does go too unsteadily for even a handheld, but its quite understandable. Editing has been a tremendous relief for me, after seeing a number of latest 'new gen' malayalam movies, which use slow motion for hundreds of unnecessary scenes. Though the director has the urge for a little heroism and slow motion once or twice in the movie, he doesn't cave into those. I would like to congratulate Rakesh Mantodi for his story and pace, but let me wait till the sequels come out.
The main lead is obviously Shobana, and its said her character is based on activists like Sunita Krishnan. She is powerful, dynamic and seemingly effortless in her character. She switches languages as any professional would do, and doesnot make it look like the actor doesn't know a single line of what he/she is saying, which is not the case with the other lead in the movie. Well, not bad for a newcomer, especially when pitted against someone like Shobana, Dhyan tries to hold his stead. But from the very start we feel an uncomfortability in his acting, more or less like actors in amateurish short films. For, there is no expression when its somebody elses lines or actions in focus, but when his lines come he gives a quick start to his emoting, which takes out the naturality flavour, which usually people overlook as it doesn't affect the story. I felt Vineeth could have used a better performer in such a strong storyline. My hope is that Dhyan wouldn't return in the sequel,(Well, you know its a trilogy) not because he is that bad, but this is a movie that has to be made right.
My only other complaint to the director is that the dialogues at some places seem very heroic or tragic, and therefore seems so very out of place. When there is a lot of action going around, places where people are tensed and frustrated, we really don't need grammatically correct, beautiful lines, or hero looking out with desperation in slow motion and music, and such stuff. Here also, its not too bad, or too much in excess, but still could be avoided.
Music has been level headed most of the times, never really overlooking the tone of the story and going in its own direction. You would not have anything to hum, but in this film that's not really necessary. So, good job to Shaan. Jomon's camerawork is a commendably worked out and visually is story-adhering. Its a great shift for him after 'Thattathin marayathu' and his work is impressive again.
I would say it was high time there was a movie on this subject in malayalam, that had a feel of realism in it. It should be hard hitting, as well as non-preachy. With its minor flaws, this movie just about does that. A welcome change from other movies in malayalam, and hopefully a time for hard and fast movies to come right up too. Well, its a trilogy...so two more fast paced movies will be there. Let this be a new wave :)
