Preacher Detective

Film: The Priest

Cast: Mammootty, Monica, Nikhila Vimal

Director: Jofin T Chacko

If you really love something, let it go. It is a slogan you can see on T-shirts and Archie's cards. But what if you love it just a little less? I guess the answer would be you won't be able to let it go. Welcome to Jofin T Chacko and his debut feature The Priest.

Father Carmen Benedict (Mammootty) is a priest who has a sleuth mentality. He assists the local police in solving cases. Before anyone says 'Father Brown', be advised that there is something more to Fr Benedict. He is also keen on solving more outlandish mysteries. 

We get involved in a family where the major parties have all committed suicide. Like your local pizza joint - 30 minutes or free - Fr Benedict has solved the case. So what are we going to do for the next two hours? 

Mammootty is his usual self in a role of a seriously unbelievable priest. Special mention goes to Monica, the child artiste. She is called to do some serious over-acting, but has the chops for it. With a bunch of relative newcomers not disappointing in their roles, it is left to the thespian to bring a sense of subtlety to the role.

But any attempt at subtlety has gone out of the window the moment the credits announce 'Megastar Mammootty' and you hear the first notes of the background score. You realise this is not a regular murder mystery. This is an out-and-out attempt at blowing up a superstar in a mass role. Take your disbelief, put on a hat, wrap it up in a ridiculous jacket, leave it outside and then enter the theatre.

The background score is an achievement in that it is playing literally every second someone doesn't speak. Clearly, Jofin thinks silence is overrated. There are scares every few minutes. If what is on screen doesn't make you jump, then the loud music will.

There are at least five twists to the story. You distinctly get the feeling that Jofin doesn't want the story to end. There is even a mid-credit scene, for crying out loud! The story is not that strong and you start guessing the plot twists before they come. At 146 minutes, you know they saved the fees of an editor. 

The sad part is there would have been a better story if they just developed the first storyline alone. Director Jofin wants to make the most of his chance. What if he doesn't get the opportunity to do another movie? That is a good point. I firmly believe he shouldn't be given another chance.

Blood will have blood

 

Film: Joji

Cast: Fahadh Faasil, Baburaj, Shammi Thilakan

Director: Dileesh Pothan

Let the tail not wag when the head is still around. It's a declaration heard around Malayali homes when the children start growing up and the father starts losing his iron grip as the head of the household. Once uttered, it will be repeated ad nauseam till one of the participants is not around anymore.

Joji (Fahadh) is the youngest son of one such household. He lives in the family home with his domineering dad Kuttappan (P N Sunny), his eldest brother Jomon (Baburaj), a divorcee, and his son Popy (Alex Alister), the middle brother Jaison (Joji Mundakayam) and his wife Bincy (Unnimaya Prasad). A sudden illness strikes Kuttappan and this sets in motion a series of events from which there is no coming back.

Joji is a family drama, but not in any traditional sense. This is not the story of a dysfunctional family. Rather, it is the story of pretty much most of the families. What makes it stand apart is the inherent evil in some of us, and how we let it come out. Influenced in part by the Jolly murders and Macbeth, Joji doesn't let its violence define it. Director Dileesh Pothan and Syam Pushkaran are more interested in the build-up. They take special glee in pointing out how normal this family is.

Fahadh and Pothan continue with their golden partnership. Fahadh relishing the role, even though there are shades of Kumbalangi Nights. Baburaj has the best role in the movie. He takes on what was a Lal staple for a long time and infuses both humour and pathos.

Newcomers Sunny, Joji and Alex are so much at ease in front of the camera that one cannot help but wonder at their talents. Shammi Thilakan is probably the only familiar face after Fahadh and Baburaj.

One of my issues with the film is about Bincy, the character played by Unnimaya Prasad. Considering she is the only notable woman character, it could have been really fleshed out. The makers claim inspiration from Macbeth. Really? Don't they know there is no Macbeth without Lady Macbeth? Maybe they are just making sure no one screams nepotism, considering she is writer Pushkaran's wife and the Assistant Director in Pothan's previous two movies!

The blurbs say the character's actions are partially motivated by being cooped up during the lockdown. I don't buy it. Joji definitely acknowledges the pandemic, people wear masks. But the same movie could have been made in 2019 also. It is very interested in looking behind masks. But that is just a metaphor that turned more literal last year.

Director Dilesh Pothan knows how to make use of his locales. Remember Idukki in Maheshinte Prathikaaram? There is an incredible aerial shot at the beginning of the movie that lingers long in your memory.

Dileesh Pothan, in the span of three films, has become one of Kerala's foremost directors. While I admire his craft, I am not one of the die-hard fans. I love the storylines, but I am left with the feeling that there is something incomplete. The final product just falls short of the ambition. 

Joji frustrates. The performances are exemplary, but the story sometimes drags. There is a bit with the local priest that goes nowhere. The online purchase that sets the wheels in motion or the piece of gossip that makes the story turn a corner are both so feeble that you feel cheated. Make no mistake, there is so much audacity here to wonder about. But you just can't shake the feeling it could have been a little more.