Acts of stealing seem to fascinate screenwriter Sajeev Pazhoor, who had woven a gripping tale around a gold chain theft in his debut ‘Thondimuthalum Driksakshiyum’. At the heart of Sathyam Paranja Vishwasikkuvo too, his second outing as a scriptwriter , is a stealing, which again becomes a useful peg to talk about other issues.
'Thondimuthalum Driksakshiyum' review: a winner yet again
The movie moves along two parallel tracks – one focussing on a group of construction workers with a serious drinking problem, and another focussing on the quest for power, and horse-trading between two fronts at a local panchayat.
Sunil (Biju Menon), a construction worker, spends much of his time after work drinking with his friends, thereby neglecting the affairs at home. His marriage with Geetha (Samvrutha Sunil) is not an unhappy one per se, as shown via montages of their little happy moments, but his drinking and the resultant debt is slowly driving it towards the rocks. Sunil and his friends dream of a better tomorrow when they get their hands on a ‘fortune’.
- Direction: G.Prajith
- Starring: Biju Menon, Samvrutha Sunil
Like screenwriter Sajeev, director G. Prajith is also on his second outing after a successful debut with Oru Vadakkan Selfie . The way they come together is interesting. Both of them have brought about changes in the other’s style of work, with Pazhoor injecting some methodical, layered storytelling and Prajith bringing in an element of lightness and humour.
The movie begins on two parallel tracks, but concentrates more on the one involving the construction workers. One wishes that the political tug of war at the panchayat, reminiscent of contemporary happenings in some States, was as fleshed out as the other track. There are certainly points where the script loses some vitality, but in the end, the movie does not suffer much due to that.
Humour is not loud or crass, but something which happens in the flow of things in the village, like that time when the masons visit the house of one of their friends who has died prematurely. Even the two scheming characters who take much pleasure from the misery of others are presented with a humorous touch. Some political commentary is also made through innocuously dropped lines, like the one on Hindi in the epilogue.
Samvrutha Sunil, in her comeback, gets some scope to perform as does Biju Menon, for whom the role is almost a cakewalk. Although there is an attempt to deliver a message in the end, it does not stand out, and we don’t feel like we are being preached at. Sathyam Paranja Vishwasikkuvo is a believable tale that hits home.
