Karam

There were instances during Karam where you are led to believe you’ve entered into the wrong screen at the multiplex. This begins right from the first shot when when we’re asked to guess if a particular chase is taking place in India or elsewhere. Of course we see Noble Babu Thomas (Dev) in the frame and we’re told that he’s just missed a shot at the most notorious militant in the world, but the imagery is so devoid of specificity that it could be any Mallu action hero running away from bad guys in any continent in any part of the world and it wouldn’t make a difference. A scene later, it’s when Dev gets court-marshalled that we learn that these two are Indian soldiers, out to take on a threat against India. The generic Europeanness of the location is something we need to interpret as the story taking place in some idyllic North Indian hill station, along the lines of Shimla.

To create a humorous situation around the ubiquitous ‘Dolo 650’, like the one in Vineeth Sreenivasan’s Karam, requires a certain amount of ingenuity. But, humour depends on the setting as well as the timing, and this particular attempt at comedy may have worked in a different setting. In Karam, it just happens to be placed in the middle of a person’s attempt to breach and bust a dreaded human trafficking ring, causing the humour to fall flat.