Kochi, India – Screenwriter Shahi Kabir, known for his gripping police procedurals, takes a meta-turn with Unmadham, a film that blurs the lines between crime, psychological drama, and supernatural fantasy. Directed by Kiran Das, the film follows Shelly (Kunchacko Boban), a police officer struggling to break into the film industry as a scriptwriter. His quest for interesting story threads leads him to an old case file with a superstition attached, but the narrative’s attempt to juggle multiple genres ultimately loses steam, despite a compelling central performance.
The film’s meta-narrative is both its strength and its weakness. Shelly’s long leaves from work and erratic behavior strain his marriage with Soumya (Lijomol Jose), and his creative pursuit often blurs with reality. The mixing of genres works in certain portions, but also comes across as a convenient cop-out for the writer, especially in difficult narrative phases. The central character being a scriptwriter gives the film license to serve up elements of fantasy, but the handling of the old case—on which everything hinges—is far from shocking. Kabir, usually on sure footing, struggles to maintain balance, with some portions relying on mere brainwaves rather than solid evidence.
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Kunchacko Boban is the film’s anchor, delivering a convincing portrayal of the battles within Shelly’s mind that keeps the audience invested even when the writing falters. Lijomol Jose is effective in a unidimensional role as the constantly nagging wife who only cools down when her husband is in danger. The film can also be seen as a commentary on the glut of police procedurals based on real-life cases, suggesting that the only idea left is a case file with superstitious fears. Despite going into the deep recesses of a creative police officer’s mind, Unmadham manages to come up with only a few interesting crumbs, making it a film with promise that ultimately fails to deliver on its genre-bending ambitions.
