DRISHYAM 3 (ORIGINAL) REVIEW

If someone told me back in 2013 when I watched the OG Drishyam that the legacy, story and characters are going to live on sequel after sequel, I wouldn’t believe it. In fact when I recently learnt that there is going to be a part 3, I was skeptical. For me, part 2 had reached the pinnacle of suspense and it had all the elements of a grand finale. Renewing the series raised concerns that the makers were possibly burdened by the box office pressure and lure to deliver yet another blockbuster.

Now, having watched part 3 of what I think is the best franchise ever made in India, I’m convinced that there is still scope for more. Not because there are many loose ends in the latest film, but because the story has been set up in such a way right from the beginning. And because I want more, of course! Who wouldn’t want to continue to be invested in Georgekutty’s sly and almost maniacal efforts to bulletproof his family from outside threats?

The big man to thank for all of this is director Jeetu Joseph, who has nurtured Drishyam over the years like his own child. Not tainted by the tendency to needlessly experiment or re-invent the wheel, a big part of why Drishyam has been working is the by-the-book filmmaking by Jeetu Joseph. The trick is to let the film be driven by the fear and anticipation that something bad is about to happen even when everything seems perfectly normal on the outside. In that sense, by letting the film direct itself, Jeetu has displayed the restraint of a great filmmaker.

What’s also somehow holding this film together is Mohanlal’s outstanding performance, or should I say the lack of performance. His eyes have the ability to transform a blank piece of paper in the script to a gripping scene on screen.

Abhishek Pathak, the director of the second part of Drishyam in Hindi, recently said in an interview that the Hindi version of this latest installment was written independently of the Malayalam script, under the pretext of catering specially to a Hindi audience. In my opinion, that’s the dumbest thing to do. It’s like taking away a grown up child from his/her biological parents and then leaving the rest of the upbringing in the hands of the foster parents. The plot is universally engaging and requires no tailor-made tweaking.

I’m going with 4/5 for Drishyam 3. Although I think part 2 was slightly better, and the final twist is a bit of a stretch and out of character even for a guy as smart as Georgekutty, it’s all in service of delivering what Drishyam has come to be known for over the years and is in its DNA: shock value. Let’s celebrate this insanely original piece of work that has redefined the boundaries of mystery films.

THE LINCOLN LAWYER S4 REVIEW

The first word that comes to mind when I think about The Lincoln Lawyer series is ‘charming’. There is a certain sincerity in the writing, the treatment of its characters, the plot development and acting performances that stands out from other shows. There is probably a better word to describe the show, but let’s settle on charming for now. 

Co-creators Ted Humphrey and David Kelly are back with S4 of this affable Netflix series. While retaining the inherent charm, witty dialogues, kickass characters and a well-paced screenplay that builds the plot brick by brick, Haller & Associates show no signs of slowing down. 

Known for his unorthodox tricks in the courtroom and his penchant for aggregating enemies in the form of the LAPD, Armenian mafia, DA, and God knows who else, Mickey ‘fucking’ Haller (as he is lovably called) is under strict judicial scrutiny in this season. Pitted against practically the entire system in LA, the show traces his navigation from prison to freedom.

Mickey (played by the charming Manuel Garcia-Rulfo) is in handcuffs for most of the season not just because he is accused of murder, but also because Manuel’s performance is simply arresting. It’s a performance that skillfully switches from delivering snarky remarks with panache in one moment to the next where he is commanding authority as he scalpels out the lies hiding behind a witness‘s testimony. It’s really hard not to be bowled over by his charm (I apologize for the injudicious use of this word) whenever he lands a blow on the prosecutor.

It would be a crime to give away more details about the delicious plot of this season, but be rest assured that the makers have done complete justice to the legacy of the show. The magic of the previous seasons is preserved in letter and spirit! The ensemble cast remains largely untouched, with a few characters added for good measure. There is a certain fluidity in the writing that helps the show take off exactly from where it was left, not just in terms of story but also in character continuity. 

I’m going with 4/5 stars for season 4 of Lincoln Lawyer. It’s one of the most clean and entertaining shows I’ve ever watched (did I forget to mention ‘charming’?). I’m not sure how religiously the makers have stuck to the original source material (all 4 seasons are adaptations of different books in the Lincoln Lawyer world), but it would be almost rude to not thank author Michael Connelly for laying a solid foundation to build on. 

IKKIS MOVIE REVIEW

Films like Johnny Gaddar, Andhadhun, Merry Christmas among others had already cemented Sriram Raghavan’s reputation as the undisputed king of noir and suspense in the Hindi film industry. Ikkis, however, marks a departure from his comfort zone to tell a story of strength & valor demonstrated by late Indian Army Tank Commander Arun Khetarpal Singh, who was martyred in the Indo-Pak war of 1971. Without bearing an inkling of resemblance to any of his previous films, Ikkis is as much an ode to Singh’s courage as it is a testament to Raghavan’s versatility. 

Ikkis is a befitting title in more ways than one. In the story’s context, of course, it represents the age at which Second Lieutenant Arun Khetarpal died on the battlefield. In the context of military rituals, the phrase “ikkis topon ki salami” is a grand ceremonial 21-gun salute that symbolizes ultimate respect for a martyr. Coincidentally, Agastya Nanda (the lead actor of the film, who by the way is a spitting image of Abhishek Bachchan in some angles) was 21 years old when signed for the film. This was a bold casting choice and has paid off very well. 

Writing a period war film while consciously avoiding the trappings that accompany this genre is a tricky task. There’s not much wiggle room to refashion the story to suit certain cinematic sensibilities. The characters, too, cannot be tinkered with too much to uphold respect for the soldiers. On top of that, Indian war films are known to be excessively jingoistic and one dimensional, leaving a filmmaker creatively straitjacketed. In Ikkis, however, Raghavan and writers do a fine job of eschewing the temptation to paint in broad strokes and instead present the actors as real flesh and blood characters, including the Pakistanis. What truly stands out, though, is the way in which the action is staged. Choreographed with the help of Russian stunt directors, these scenes transport you directly to the battlefield and commandeer your full attention. 

The film, unfortunately, is not without its share of flaws. The first half is merely peppered with anecdotes from journeys of the main characters in the two criss-crossing timelines. Although sporadically engaging and competently directed, the film never feels more than a sum of its parts. But if you’re able to get through this initial phase of uneventfulness, you’ll be handsomely rewarded by what follows. It has a solid uplifting core, and the terrific cast leave no stone unturned in doing all the emotional heavy lifting.

I’m going with 3.5/5 for Ikkis. Although the aching plea for peace might strike someone as naive, a little dose of positivity has never done any harm. As the end credits rolled, I was caught juggling the dual tasks of wiping off my tears and applauding at the same time. My efforts to do so were clearly a lost cause, much unlike what the film has achieved.