In the contemporary world of cinema, the opening scene often sets the tone for the narrative journey that unfolds. This holds true in Joju George’s directorial debut, “Pani,” where a shocking murder in broad daylight grabs the viewer’s attention right from the start. However, as the plot progresses, it is not this initial violent act that steers the trajectory of the story. Instead, a seemingly trivial altercation at a supermarket becomes the fulcrum of the unfolding drama, intriguingly tethering the characters and narrative strands together.
The film introduces us to Don, played by Sagar Surya, and Siju, portrayed by V.P. Junaiz, who are amateurs thrust into the world of crime. Initially driven by the promise of financial gain from their debut hit, they are soon entangled in a more complex web. The encounter at the supermarket offers a palpably charged atmosphere, symbolizing their transformation as the allure of crime grips them completely. This transformation marks the beginning of their descent into the darker realms of the human psyche, driven not just by money but by the adrenaline of danger and power.
Their paths soon intersect with Giri, a character brought to life by Joju George, who is a key figure within a mafia syndicate governing the city of Thrissur. Giri represents a world that the inexperienced criminals have just stepped into, yet the film masterfully flips the conventional narrative; Don and Siju evolve from prey into predators. Their unpredictability becomes their weapon in a world that respects neither order nor prominence.
“Pani,” while seemingly embedded in the mold of a revenge narrative, distinguishes itself through its insightful exploration of the psyche of its central characters. Joju George, not just acting but also stepping into the shoes of a screenwriter and director, anchors the film’s progression with these shifting dynamics as the bedrock. The characters constantly oscillate between hunter and hunted, a reflection of a realistic and chaotic world where instability is the only constant.
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In crafting the intricate layers within the movie, George meticulously delves into the mafia’s internal dynamics. The syndicate’s backstory is poignantly depicted, revealing the camaraderie built over years, stretching back to college days. This element of shared history is pivotal, lending authenticity to the relationships between Giri and his cohorts, played by talents like Prashanth Alexander, Bobby Kurian, Sujith Sankar, and Abhaya Hiranmayi. This close-knit group paints a picture of a crime family rather than a mere gang, introducing a connectedness that echoes throughout the film.
The film subtly conveys the depth of Giri’s bond with his partner, Gowri, portrayed by Abhinaya, offering viewers an emotional anchor amidst the chaotic narrative. Such interpersonal dynamics enrich the narrative, imbuing it with layers beyond the violence and revenge themes typical of the genre.
While the syndicate is portrayed as maintaining a public façade of respectability, their real intent lurks beneath, managed through loyal minions peppered throughout the city. The group’s strategic placement of people, including a relative like ACP Kalyani (Chandini Sreedharan), paints a picture of a well-oiled machine hidden behind everyday business titles such as real estate moguls. But George’s nuanced direction compels the audience to empathize with them, despite their criminal undertakings.
One of the film’s standout sequences is a gripping car chase, executed with precision, holding the audience on the edge of their seats right before the climactic finale. George’s knack for pacing ensures that the film builds towards its conclusion with finesse, though it doesn’t shy away from bloodshed or the harsh realities of the character’s pursuit of vengeance.
However, the film does stumble in parts where graphic depictions of sexual violence are employed. This narrative device, often utilized as a catalyst for revenge, feels gratuitous and is perhaps a missed opportunity to break from overused cinematic tropes.
Despite these issues, “Pani” emerges as a compelling drama. Joju George crafts a narrative that, while rooted in a traditional revenge story, layers its plot with psychological insights and dynamic character arcs.
“Pani” is currently enthralling audiences in cinemas, continuing to make waves in Malayalam cinema circles.
