Oru Kuprasidha Payyan Review
The premise in Madhupal's latest directorial venture stands close to the reality. This outer layer of reality is expected to be more gripping and intense when the action shifts to the court. A decisive phase in the film, the courtroom sequences hardly possess any vigor to keep you engaged. Here 'Oru Kuprasidha Payyan' trails behind films of this ilk. With Suresh Gopi starrer 'Melvilasam' heralding its towering status in courtroom dramas, this film appears to be carrying a thin effect in such scenes.
Indeed, both these films stand for justice to the innocent. In 'Oru Kuprasidha Payyan', we have a novice lawyer named Hannah (Nimisha Sajayan) to argue for a youth, who has been framed in a murder case. Yet the way things are shaping up in the trial is devoid of enough conviction.
Ajayan, a hotel worker, is an introvert but he is helpful for all. He is liked by the villagers, especially Chembakammal (Saranya Ponvannan). His co-worker Jalaja (Anu Sithara) has immense empathy for Ajayan, who is an orphan. Tovino is adamant in his observation of the mien and body language of Ajayan till the end. He represents sharply the innocent victims of such cases. Even when his friends and co-workers ignore him in the case, Ajayan keeps his faith in God. Interestingly, the accused and his lawyer have to prove a point in the court.
Saranya as a cook in the catering business has a meaty appearance and she fulfils it with ease. Her Thirunelveli connection and relationship with Ajayan has been narrated effectively. Alencier as drunkard Bhaskaran is a typical neighbor and his words amplify the suspicion of police about Ajayan.
Sujith Shankar appears as Crime Branch officer Simon George, an embodiment of brutal interrogation and scheming plans. Penned by Jeevan Job Thomas, the screenplay lashes out at the police system of interrogation and the internal games. Simon takes up the case from CI Praveen Kumar (Sibi Thomas), who shows some integrity in his probe into the murder during the initial stage.
Nimisha Sajayan as an inexperienced lawyer authentically marks her caliber once again. Madhupal etches handsomely the pangs of a destitute youngster and it is well conveyed. But the filmmaker relies too much on dramatic levels. So a cluttered feel is pervaded throughout the second half and hence the excitement is hard to be identified in the tale.
Cinematographer Noushad Shereeff captures some vibrant visuals from Vaikom, where the film is set. Meanwhile, Ouseppachan's background score fails to convey the required feel.
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