Prethamundu Sookshikkuka Malayalam Movie Review

Feature Film | U | Comedy, Horror, Romance
Ridiculing the commonsense of viewers, this film stresses itself how it can be an epitome of the worst form of farce.
Jul 1, 2017 By K. R. Rejeesh

Going by the trends in films, Kochi is a preferred location for filmmakers to narrate the lives of 'quotation' gangs. Debutant directors Mohammed Ali and Shafeer Khan take a cue from it and explores the lives of a bunch of such people in "Prethamundu Sookshikkuka." It's rather a misleading title as the film offers few spooky scenes (may be the makers' intention to scare viewers could have gone awry). So what's in store for us?

In this goon-ghost combo, one might expect gory scenes, hair-raising moments and thrilling action sequences. But there's surprise for you. The combo is for tickling your funny bone, whether you laugh or not! Besides, the do-gooder ruffian, 'Ethics' Babu (Shine Tom Chacko), provides the panacea for the characters. So often he is engaged in his kidnap missions and sometimes becomes eloquent about morality.

Though he feels a crush on Alice (Kalharaah), he realizes his limitations. Babu's characterisation has an irony when you take into account his profession.

Once he along with his acolytes was given the assignment of protecting policemen at night, and that too inside the police station, which is functioning in a haunted house. Even the police fear the impish ghost inside the building. Then you witness card game and boozing inside the station by the two parties. Yes, now you sense the trait of a puerile story. Later, it becomes the mission of Babu and his men to vacate the police from that house, now occupied by Enasu (Sunil Sukhada), for its real owner (T.P. Madhavan).

It is a brazen act by the directors to snub the revolution being taking place in films worldwide. They resort to the mode of old-school slapstick comedy by sullying the presence of a number of good actors.

Due to an inane and illogical script, the characters are destined to run helter-skelter and it simply evokes yawn and intolerance among audience. The haplessness of viewers is also palpable on the face of characters as they flounder in most scenes for want of room to perform.

Ridiculing the commonsense of viewers, this film stresses itself how it can be an epitome of the worst form of farce. Overall, the plot jeers at you, tests your patience and exposes the nadir of creativity possessed by the director duo.

K. R. Rejeesh