Pradhama Drishtya Kuttakkar review: Parvathy’s thriller is held back by convenient writing - The Indian Express

Pradhama Drishtya Kuttakkar movie review: If a plot twist fails to fully catch viewers off guard, outsmart them, and elevate the work to new heights, movies risk being quickly labelled as disappointing. While a well-executed twist can still make us lean forward in our chairs and draw us deeper into the story, people’s widespread exposure to cinema and other content such as true-crime podcasts has made it easier for them to see through twists, making it harder for filmmakers to succeed.

This is where gripping, race-against-time crime thrillers like director Shahad Nilambur’s Pradhama Drishtya Kuttakkar have an advantage. The script doesn’t rely too heavily on risky twists, instead focusing on the cat-and-mouse game between the culprits and the investigator, creating a heaviness in the viewers’ chests, fostering concern that those they are rooting for might get caught. The tension is further heightened by showing the characters walking on thin ice, with almost nothing in their favour, and avoiding apprehension by a hair’s breadth.

However, what keeps Pradhama Drishtya Kuttakkar from being an impeccable crime thriller is its convenient writing and resemblance to past movies.

The widow of a martyred police officer, Aleena Abraham (Parvathy Thiruvothu) makes it to the force on compassionate grounds and receives an appointment as a Civil Police Officer (CPO) at the Nattakom station after her training. She slowly settles in, dreaming of giving her in-laws and baby daughter a better life.

One night, while on patrol, she and her fellow officers Sreenath (Mathew Thomas) and Dasan (Sidharth Bharathan) catch a man under suspicious circumstances and bring him to the station, where Divya (Unnimaya Prasad) is the only one on duty. There, a scuffle breaks out between the four officers and the man, resulting in his accidental death. Certain that this will be the end of their lives, the four join forces to cover up the crime and save themselves.

Pradhama Drishtya Kuttakkar (Prima Facie Guilty) features one of the smartest title placements in recent Malayalam cinema, where its appearance not only adds dramatic weight but also warns the audience that the four can’t simply justify their actions as “self-defence,” and that they need to go to extreme lengths to save themselves.

Instead of loading the opening sequences with too much drama to make us feel sympathetic towards the central four, writers PS Subramanian and Vijesh Thottingal treat the first act as a procedural. They establish that none of them is a Sethurama Iyer or Commissioner’s (1994) Bharathchandran IPS and that they are all slowly building their lives, having not yet reached a comfortable position.

Subramanian and Vijesh keep things light and flesh out the story slowly, giving both the audience and the characters time to settle into the world. However, once the narrative shifts gears, the writers seem clear on how they want to take Pradhama Drishtya Kuttakkar forward, with no signs of confusion.

They don’t simply shift to top gear after Harris Meeran (Vijayaraghavan), a highly intelligent crime branch officer, takes over the case; nor do they slip in twists at every turn. Instead, they treat the story like a gripping drama in which a group of powerless people races against time, holding their lives in their hands.

However, Pradhama Drishtya Kuttakkar’s script starts to feel weak once Subramanian and Vijesh resort to convenient writing, with Aleena finding all the answers and ideas she needs in a police memoir penned by Harris himself. While showing her getting a few tips or the idea to crack the most difficult puzzle in this scenario from the book would have been cool, the movie depicts her as getting all her ideas from it, which makes the script feel flimsy.

What’s even worse is that Harris is often shown making the same moves he made in the past, which he then detailed in his book, rendering the character smaller than others perceive him. While the interval block is impressive and showcases Harris’ sharpness, it turns out to be the only such moment in the movie, diminishing his character’s so-called greatness as a cop.

Surprisingly, the movie has quite a few comedic lines and moments, particularly featuring actor Vinay Forrt’s CI Prathap Mohan, that make one chuckle but suddenly feel out of sync with the film’s overall tone.

While Pradhama Drishtya Kuttakkar establishes its characters well and fleshes them out properly, that doesn’t justify its unnecessarily long runtime, as the movie could easily have been trimmed to feel tighter.

Also, has Drishyam (2013) left such an impact on Malayalam crime thriller makers that they un/knowingly end up emulating it or incorporating traces of it into their works often? Or has the Jeethu Joseph directorial blinded us so much that we, as audiences, end up seeing shades of it everywhere we look, even when it is merely a hunch?

I honestly don’t know the exact answer, but I believe it’s a mix of both.

Pradhama Drishtya Kuttakkar reinforces my feelings, as you can easily see traces of Drishyam throughout the movie. From burying the body on police station premises and trying to find a way out through art (if it was movies for Georgekutty, it’s a book for Aleena) to dialogues like “we have only two options now: either surrender or resist,” there are quite a few similarities between the two.

Yes, one could argue that Drishyam wasn’t the first movie to introduce some of these plot devices. But still, the resemblances are too obvious to ignore. Not just Drishyam; one could even find shades of Martin Prakkat’s Nayattu (2021) in Pradhama Drishtya Kuttakkar at times, even though not explicitly.

While the film is technically strong, the crime thriller desperately needed better actors to play the central roles. Although Parvathy, Mathew, Sidharth, and Unnimaya try their best, the emotional weight and fear they experience never quite resonate because of their unimpressive performances. Unnimaya’s portrayal, in particular, comes across as highly theatrical at times.

Roby Varghese Raj’s cinematography is brilliant, as he often captures the mounting tension sharply in each scene. Particularly impressive are the visuals of the scuffle at the station that leads to the murder. Although Mujeeb Majeed’s music is impressive at times, it doesn’t adequately elevate the thrilling moments.

Also, just a thought: aren’t we increasingly normalising such how-to-get-away-with-murder stories a bit too much? I mean, sure, one could argue that these are underdogs with almost no privilege or power and that the person who died “deserved” it. But in a country where a large section of the population is overly obsessed with cinema and considers what transpires on screen as the “absolute truth” or something to follow blindly, one cannot ignore the possibility of such movies “inspiring them” too much.

Pradhama Drishtya Kuttakkar movie cast: Parvathy Thiruvothu, Vijayaraghavan, Mathew Thomas, Sidharth Bharathan, Unnimaya Prasad, Azees Nedumangad, Vinay Fortt Pradhama Drishtya Kuttakkar movie director: Shahad Nilambur Pradhama Drishtya Kuttakkar movie rating: 2.5 stars

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. He is a Tomatometer-approved film critic and a Golden Globes voter. With over seven years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and arthouse narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialised cultural journalism, allowing him to bring a structured, news-oriented rigour to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalised Narratives: A commitment to on-ground and analytical reporting on how cinema represents or fails marginalised communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritising "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More