In a cinematic landscape where stories often pivot around monumental events, Joju George’s ‘Pani’ chooses a different narrative path. Opening with a chilling murder in the broad daylight of Thrissur city, the film sets expectations for the audience, hinting at a storyline that orbits this heinous act. However, George surprises viewers by focusing on a seemingly minor altercation that escalates in a supermarket, involving the two novice criminals, Don (Sagar Surya) and Siju (V.P. Junaiz). This conflict shifts the film’s trajectory, leading to a gripping, blood-splattered saga of crime and vengeance that delves deep into the human psyche and its unpredictable nature.
As the story unfolds, Don and Siju, initially just small-time criminals, find their worlds turned upside down. Their intoxicating brush with violence and the promise of financial gain from their first crime awaken darker instincts within them. With no intention or possibility of returning to normalcy, they find their paths intersecting with Giri (played by Joju George himself), a key figure in a powerful mafia syndicate that tightens its grip around the city.
Despite the foundational revenge theme prevalent in many crime dramas, ‘Pani’ distinguishes itself by concentrating on the erratic behaviours and psychological transformations of its central characters. The storyline boldly underscores the vulnerability of even the most fortified entities—the mafia syndicates—that perceive themselves to be invincible. This dynamic is cleverly encapsulated in a conversation between Don and Siju, wherein they acknowledge their ability to observe the large syndicate while remaining virtually invisible to it.
Meanwhile, the intricate inner workings of the mafia syndicate are masterfully painted through the film’s narrative. The camaraderie and complex history among its members—played by Prashanth Alexander, Bobby Kurian, Sujith Sankar, and Abhaya Hiranmayi—are skillfully depicted, showing a group that has matured from college days into a formidable family unit.
. The depth of Giri’s bonds is further accentuated by his intense yet tender relationship with his partner, Gowri (Abhinaya), enriching the story with emotional layers.
The syndicate, despite its formidable reputation, functions under a facade of peace and respectability. By cleverly distributing their illicit activities across various minions throughout the city, they maintain a semblance of legitimacy as distinguished builders and real estate brokers. Kalyani (Chandini Sreedharan), who serves as the ACP and a relative, enables their societal standing. Despite their criminal backdrop, the narrative artfully positions viewers to sympathize with and root for this complex family unit, blurring the lines between right and wrong.
Under Joju George’s dual role as both writer and director, ‘Pani’ exhibits a well-paced narrative that keeps its audience on edge. The sequence of events is precisely timed, with a thrilling car chase preceding the climactic finale, ensuring an engaging build-up and release of tension. However, the film’s raw depiction of blood-soaked violence and scenes of sexual assault may be too graphic for some viewers. The latter, especially, draws criticism for perpetuating the trope of using sexual violence as a plot device to justify male characters’ quests for revenge.
Despite these contentious elements, George’s directorial debut succeeds in delivering a compelling and multifaceted drama. ‘Pani’ offers much more than its seemingly typical premise suggests, captivating viewers with its intense performances and intricate character studies that unravel against a backdrop of crime and retribution. As a testament to his storytelling prowess, George manages to construct a world within ‘Pani’ that is as unpredictable as it is engaging, challenging audiences to contemplate the darker aspects of human nature and the thin veneer of civilization that masks them. The film is currently earning accolades and drawing considerable audiences to theatres, marking a promising start for Joju George’s directorial pursuits.
