Narivetta

Anuraj Manohar’s debut film, Ishq (2016), does something interesting. It shows us a calculated act of violence and establishes a certain perspective. Later, it flips the narrative as well as the power imbalance by showing one of the victims, a heterosexual male who recovers from the ordeal quickly, perpetrate the same violence but this time to ghastlier ends in the name of revenge. As the film gradually becomes more and more uncomfortable, we understand that Manohar is interested in this cyclical nature sustained by the insecurities, frailties and ego of men. It makes a much larger point than a quid pro quo revenge act. Manohar’s new Malayalam film Narivetta also keeps moving around the vantage points, but from the view of the sole protagonist. It is clever but more straightforward in terms of storytelling and sociopolitical play than the first film. Yet, it makes for a solid sophomore film from the director.

What do ‘Jigarthanda Double X’, ‘Viduthalai 2’, and ‘Narivetta’ have in common? It has protagonists who fall victim to systemic oppression - a hero who represents a system, later realises the truth, who represents the right, and who fights for what’s right, even if it means an end to one’s life. Varghese Peter (Tovino Thomas) is a man, much like his father. The two men are not interested in doing simple jobs to pass the day. They aim high, which is a testament to their potential. Varghese lives with his mother after his father took his life. He is awaiting calls for two jobs – a village assistant and a police constable. Varghese, who doesn’t think twice about borrowing money from the women in his life, is uninterested in both jobs.