Pani Movie Review: Director Joju promises much with this effective revenge tale
In just a matter of minutes into “Pani,” a brutal murder unfolds under the sun, within the pulsating heart of Thrissur city. This intense scene not only promises an unfiltered, action-packed ride but also introduces us to the remarkable talent of Joju George, the directorial newcomer. Throughout the movie, there are numerous instances hinting at the emergence of a skilled filmmaker, such as the aftermath of a harrowing assault on a woman. The entire family is left shattered and thirsting for retribution, providing a poignant backdrop for a composer to heighten the sorrow and ensuing anger. However, Joju, in his role as both writer and director, displays commendable restraint by allowing silence to dominate this crucial scene. Instead of overpowering music and inciting speeches on seeking vengeance, emotions are expressed through gentle looks and gestures. The primary focus remains on the survivor rather than on the pursuit of revenge. While assault serves as the central catalyst in this tale of retribution, the film positively asserts that overcoming sexual assault does not have to signify the end of the world.
George is the director.
Starring: Joju George, Sagar Surya, Junaiz VP, Abhinaya, Bobby Kurian, and Sujith Shankar.
In the film, Joju portrays Giri, a once-involved wealthy builder with a criminal past. Although he is no longer directly engaged, Giri’s loyal companions continue to operate within Thirssur’s underworld. Imagine two young men, perhaps in their late teens or early twenties, challenging the authority of these influential figures. Initially by accident, and then intentionally. This scenario may resemble a modern-day David versus Goliath, yet the youths possess a formidable blend of ruthlessness and audacity. Sagar Surya and Junaiz VP deliver compelling performances as these rebellious individuals, whose ruthless behavior lacks a clear motive. Remarkably, the film refrains from delving into their pasts to justify their choices, adding to its allure. It implies that they have embraced their lawless personas willingly. The captivating aspect of ‘Pani’ lies in how these obscure figures outwit, and even instill fear in, a multitude of criminals and law enforcement personnel.
Sagar Surya’s character in “Don” stands out as more developed compared to the other, showcasing depths beyond mere cold-bloodedness. He portrays a deceptive lover with a charming facade, unflinching in his willingness to resort to violence while wearing a pleasant mask. The portrayal and performance bear a striking resemblance to Vishal Jethwa’s chilling depiction of a serial killer in “Mardaani 2.
The essence of “Pani” lies in its intricate web of characters and conflicts, resembling a subtle cat-and-mouse interplay. However, the screenplay falters in capturing the necessary intensity, partly because Joju takes a backseat, allowing others to dominate the narrative. While Giri’s impending explosion adds tension, his prolonged absences deprive the film of climactic peaks. Despite commendable performances by Bobby Kurian, Sujith Shankar, and Prashanth Alexander, the script could have been more astute in maintaining suspense. Surprisingly, the movie overlooks the potential of Chandhini Sreedharan’s character as a cop, a missed opportunity.
[Pani] stands out for its raw and authentic portrayal, thanks to the exceptional work of cinematographers Jinto George and Venu, as well as composers Vishnu Vijay and Sam CS, whose contributions align seamlessly with the film’s atmosphere. In contrast to typical movies in its genre, the musical background in [Pani] serves not only to create intensity but also to enhance the emotional narrative. Furthermore, the decision to film in genuine, bustling settings truly immerses the audience in the storyline. For example, the brief yet impactful scene at Guruvayur Temple, lasting a mere 30 seconds, adds significant depth as it illustrates Giri’s family gradually recovering from adversity. Amidst a backdrop of brutality and aggression, these tender moments offer a much-needed respite.
Whilst there are instances of formulaic writing and occasional shortcomings in building excitement towards the end, Joju confidently introduces himself with his first film, Pani. Although his path as an actor was filled with challenges before gaining recognition, his venture into filmmaking seems to hold great potential, evident in his promising debut.
