‘Joseph’ a medical thriller that leaves you stunned

By Mythily Ramachandran

Director M. Padmakumar reveals a different facet of actor Joju 

George in this family drama

 

Joju George in the titular role is unforgettable. The actor-producer who has until now played comic roles and characters with negative shades proves that a good story does not need a star or a larger than life character to hold it up. With his understated performance, George is terrific.

Joseph (Joju George) may have retired from the police service yet is often called back for consultation by his seniors to crack a difficult case. As soon as the film begins, we learn about his Sherlock Holmes observation skills. Joseph despite downing a few drinks is alert as he surveys the scene of crime-a double murder in this case of an elderly couple-and solves the case in a surprisingly short time and without much fuss.

But his personal life is a tragedy. Joseph’s life is empty just like his home. His wife Stella and their only child, Diana are no longer with him. Written by Shahi Kabir and directed by M. Padmakumar, the story shifts between the past and the present.

Joseph’s tragedy is compounded further by the accidental death of a close one. Joseph discerning eye pushes him onto another investigative journey that brings to opens up a medical scam.

‘Joseph’ is a well written narrative with a screenplay that keeps you engrossed. It’s neatly sketched ordinary characters brought onscreen with natural performances by the actors leave you feeling sad when curtains come down. 

George dominates the story with his understated acting. This policeman is a far cry from the cruel policeman of ‘Nyan Mary Kutty’ or the friendly cop of ‘Poomaram.’ His two portrayal of Joseph is laudable-the young Joseph in love and the man drowned in sorrow are poles apart. George as the retired officer who finds refuge in the bottle carries a lazy swagger and a disinterested gaze in his eyes.

Another surprise is actor-director Dileesh Pothan. He is Peter, whom Stella marries after leaving Joseph. Pothan who was last seen in ‘Drama,’ as the loud talking funeral agent Dixon takes on a character who barely speaks.  The relationship shared by George and Peter is awkard-the two men love Stella- yet they show a maturity and understanding that is so beautiful. You don’t see this kind of acceptance either in life or on  screen. Kabir scores with his writing. 

The supporting actors playing Joseph’s friends deserve mention. So too the actresses- Athmiya, Madhuri Braganza and Malavika Mohan- playing the women in Joseph’s lives. They all prop up the story well.  

Another big strength is the  spectacular camera work by Manesh Madhavan. Right from the go, his frames are stunning. When we are introduced to Joseph, he is lying drunk in his chair caught between the streaming rays of the morning sun. A hungry cat mews persistently in the background but is not visible, you are left to your imagination. I loved that visual. Madhavan’s camera is intrinsic to the story, very much alive and following the characters totally. 

‘Joseph’ while bringing to light a medical scam leaves you feeling quite sad.
 

'Thondimuthalum Driksakshiyum’ a hilarious tale 

By Mythily Ramachandran

What if you were a fly on the wall inside a police station or a bird perched on a tree in one of those small towns of Kerala? You could spend the entire day watching people around and their life stories unfold.

‘Thondimuthalum Drikshasakshiyum’ (The Mainour and the Eye Witness) is one such story that director Dileesh Pothan narrates in his inimitable style. Marked by realistic frames and exemplary performances, Pothan and Fahad Faasil return with another winner. Their last film, ‘Maheshinte Prathikaram,’ won two Kerala state and two national awards this year.

At the core of the plot is a simple knot, when a small time thief (Fahad Faasil) steals a chain from the neck of a young woman while travelling in a bus. Srija, (Nimisha Sajayan) the victim had dozed off but wakes up in time to catch the thief in his act. The thief outsmarts her by swallowing the chain. Srija raises a hue and cry. Her husband Prasad (Suraj Venjaramoodu) sitting on the other side of the row rushes towards her. The thief vehemently argues that he never took her chain. ‘She must have dreamt it while in her sleep,’ he suggests.

Co-passengers come to Srija’s aid. Some even slap the thief. Soon the bus is driven to the nearest police-station. What happens at the police-station over the next few days? Does Srija get her chain back? 

With a chain snatching plot one would expect a lot of drama that could have turned into just another thriller. ‘Thondimuthalam Drikshasakshiyum’ does not follow that route. It makes its own path as the story progresses and keeps you guessing all along. 

With hilarious situations captured inside a police station that is enhanced with touches of realism and natural performances from the entire team, director Dileesh Pothan proves that ‘Maheshinte Prathikaaram’ was not a mere flash in the pan.
 Sajeev Pazhoor has written the story and screenplay. Syam Pushkaran, who won the national and Kerala State Award for Maheshinte Prathikaaram, is credited with the dialogues.  

You can see the love with which each character has been sketched. The lead players, Srija is an ordinary young woman yet with a mind of her own. Her relationship with Prasad begins on a wrong note when he notices her purchasing a pregnancy testing kit. Through a common friend, he relays this to her father. An angry Srija confronts Prasad who is embarrassed on his goof-up and before they know it the young couple is in love. Srija’s parents disapprove of the inter-caste match and they leave town to make a new beginning in Kasargode.

Suraj Venjaramoodu is a brilliant performer whose talent only a few directors have explored. Dr. Biju revealed another side to the comedian in his national award winning film, ‘Perariyathavar.’ Pothan brings that out again here.
With his subtle acting, Venjaramoodu convincingly draws out the simple guy Prasad, who cannot harbor malice for anyone including his father-in-law.
No one could have been as convincing as the versatile Fahad Faasil. He is brilliant as a thief, cocky and confident even when in the wrong and takes life’s situations most casually. 

Newcomer Nimisha Sajayan matches step with the two veteran actors and is a bundle of promise. Her eyes are her strengths and she exploits them well. Her grim expressions, her anxiety at the loss of her ‘thali’ (wedding chain), her angry looks darted now and then at the thief are spontaneous. The Mumbai raised actress slips into a lower middle-class Srija’s skin with ease. 

A host of characters make up ‘Thondimuthalum Driksakshiyum’ and they stay with you long after curtains fall-Sudhakaran, the trouble maker who is confined in prison till the temple festivities are over, the writer at the police station who is always in mufti, the Sub-Inspector keen on delivering justice and the Head Constable (Alencier Ley), on a punishment posting. In fact, 23 real policemen have made their cinema debut.  Sibi Thomas as the SI impresses. The casting is so perfect. Even the chemistry between Srija and Prasad so well played out. 

The mystery around the thief keeps the story engaging too. He has no identity nor does he reveal his real name. He takes on Prasad’s name. And boasts about his paratha making skills in a nook side hotel that is greeted with asides and banter by the policemen. Fahad Faasil plays the wily trickster to the T.

Complementing the beautiful narration and seamless flow of the story is Rajeev Ravi’s brilliant camera work. The national award winning cinematographer hovers around the police station, now and then stepping outside, sometimes capturing a temple celebration mood in bright colours or lighting up in twilight frames when watching over Srija and Prasad in their home. The long chase scene through the woods that ends in a canal with Prasad holding onto the thief, whom he has finally caught is remarkable.

Realistic shots and attention to finer details add to the film’s strengths. When everyone is heading to the hilltop where the thief is being taken for his morning ablutions, Srija also joins her husband. Suddenly Prasad turns to her and tells her-‘you don’t have to accompany me here.’ You smile with Srija. Humour is squeaky clean.  

Bijibal’s music complements the narrative.
‘Thondimuthalum Driksakshiyum’ finds itself a place among the beautiful gems of Malayalam cinema.