“Nothing is white, nothing is black, everything is grey” - ADGP Mathew Manjooran, the character played by Mohanlal utters this line at a crucial point in the film Villain . The scriptwriter should have added one more line to that - “And, everything has to be spelt out,” for that is exactly what the film is about.
Much of the script is expository in nature, from the initial scenes explaining Manjooran’s long leave from duty, the imminent voluntary retirement, and the climactic scenes, where a talk festival happens.
The veteran cop is recovering from a personal tragedy, and finds himself mentally unfit to continue in service. But, on the retirement day, a triple murder happens in the city, which no one from the department, but him, seems to be capable of solving. Prodded by his seniors, the man reluctantly gets back to his job.
Much like its villain (or hero?) Shaktivel Palaniswamy (Vishal), the script appears more intelligent than it actually is. A few references to Shakespeare here, a few philosophical musings there, all of it work together to weigh down a narrative that held some promise initially.
B. Unnikrishnan’s attempt here was not to deliver a straight, taut thriller, but to build a slow-burner, with an emotional family drama and the unravelling of a psycho killer all weaved together.
But it is too much load to carry for a script that is short on imagination. The thriller part is done by the time the film reaches the interval. What remains are an exploration of the mind of the killer, finding patterns to his killings and lengthy exchanges on the idea of revenge, something which is handled as interestingly as the typical first hour after the lunch interval at school.
It is quite surreal to hear those lines against the idea of revenge, being delivered by a man who has starred in some classic revenge roles.
Mohanlal looks the part as the sharp but emotionally troubled, cop. The subdued role, shedding some of his oft-repeated mannerisms, has worked in his favour. But, sadly, that is not enough to hold the film together.
Most of the other roles, including that of his wife (played by Manju Warrier) and Shaktivel are poorly written. You don’t see Shaktivel’s mind or convincing enough reasons for the way it works, even when the film attempts to show it to you.
Too many things happen in between, as if to divert attention from the main theme. The track involving a drug lord goes off on another parallel, and is somehow connected to the main story, just for the sake of it.
All the philosophical lines and style are not enough to cover up for the hollowness in the second half of the script. Even that debate on who the real villain is pretty one-sided.
S.R. Praveen
