- Date of Release: 28 June 2024
- Genre: Drama
- Language: Malayalam
- Watch On: Theatres Only
Paradise
Introduction
In a scene midway in the film, you see the character of Amrita telling a character that Ravana had died at the hands of Sita while Lord Rama was her charioteer. On being asked on how is this possible, she reminded the character that this was according to the Jain Ramayana while the most popular one that we have been taught is the Valmiki version of the Ramayana. She further emphasizes that there are over 300 versions of the Ramayana and that the narrative is interpreted as per the needs of the situation, much like the character was doing while guiding her and her husband through the Ramayana trail. This little scene did form the crux of the Malayalam/Sinhalese film Paradise that has got to be the pick of the weekend for me amongst all films that are out including Kalki 2898 AD. While venturing into the film, I did not know what to expect and at times going into the film blind really does help. And here, I was absolutely stunned at the narrative that was seemingly unassuming with a genre shift at the end that I just didn’t see coming. So then does Paradise manage to impress in its totality, let’s find out.
Story & Screenplay
Set in the year 2022 wherein Sri Lanka is on the verge of an economic crisis, Paradise follows the story of an Indian tourist couple who arrive in the country to celebrate their 5th Anniversary together until an incident deepens the cracks in their relationship. The story here has strong references to the Ramayana(much like how Kalki 2898 AD had to the Mahabharata, what a weekend for me) but the references itself are subtle and you won’t understand them up until the very end. Yet, what is fascinating about the story is the depiction of the economic crisis which can be co-related to the widening cracks in the relationship between the couple. And that is where the characterization of the two protagonists and the characters around them are tested in this incredibly unassuming thriller standing at a shade above 90 minutes.
Written by Prasanna Vithanage and Anushka Senanayake, the drama has an easy going vibe to it even as it proceeds with the introduction of the three protagonists – Kesuv, Amrita and Andrew. Kesuv and Amrita are husband and wife freshly arrived in the economic stricken land of Sri Lanka to celebrate their 5th Anniversary while Andrew is their local guide taking them on a Ramayana trail. The atmospherics are tense with protests all around but the mood in the vehicle is light and almost intimate oblivious to the chaos around them. Only briefly do you witness the two vibes merge, only for the vehicle to pass through because they are tourists. Here I must add that the dual moods of the drama are representative of the twin narrative styles in play. While the present moment has the characters in a happy space represented by the lighter mood of the drama, the chaos around is an alert to the viewers for the bigger eventuality that would ensue.
The proceedings are engaging particularly after an incident that transpires that puts the characterization of the two protagonists to the test. But the most interesting part of the screenplay for me was the contrasting characterization of the protagonists. And this was perfectly represented in an early scene in which the character of Kesuv coaxes the character of Amrita to venture out for hunting, even as she remains reluctant given that it is illegal. And while a deer is spotted and on the verge of being shot down, Amrita intervenes and pleads with the people around her to not shoot the animal, while being mesmerized with its beauty. These scenes show that Amrita has a pure heart which doesn’t wish to resort to any kind of violence even as Kesuv doesn’t quite believe in morals at the behest of his own needs. This is further accentuated in a later scene in which Kesuv threatens a cop with appropriate action should the force fail to return his ‘property’. The disconnect between Kesuv and Amrita also lays with the fact that the former has brought his work with him, much to the dismay of the latter who just wishes to disagree in silence.
There are subtle references to the Ramayana integrated tactfully in the screenplay, but you may not be able to corelate the references with the set of characters until the very end. Patience is a virtue here even as you are taken on a wonderful trip to the locales of Sri Lanka even as a parallel plot point has an intricate source of tension, a tone that remains consistent with the flow of the narrative. There are subtle twists and turns in the screenplay but none that are shocking while going perfection is sync with the chaos that ensues amidst the financial collapse of the state, even while delicately highlighting the plight of the people, particularly the poor here.
The hierarchy of power is perfectly depicted here wherein the most powerful person on show is Kesuv given that he isn’t a local followed by a local cop who has to meet his demands. This exercize of power doesn’t apply to Amrita who is empathetic towards the situation and the characters around her. This results in a tense final 15 minutes wherein the tension is slowly builtup and certain facts are revealed in a sudden genre shift that transpires. In turn, this accounts for a shocking final act that I just did not see coming but when I did sit down to think about it, it perfectly fit in with the references that it showcased with respect to the Ramayana. This was an intelligent screenplay that was successful in hoodwinking the viewers while revealing a different self at the end.
Dialogues, Music & Direction
The dialogues are conversational but profound with its reference to the Ramayana. The use of BGM is delicate and almost used like an after thought to aide the narration while allowing the external tension to creep in through its ambience. The cinematography is exquisite comprising of frames that beautifully capture the green landscapes of Sri Lanka while also integrating the references of the Ramayana through some stunning shots. The editing is crisp and it accounts for a taut watch. Director Prasanna Vithanage does an incredible job in creating a chilling atmospheric drama with some memorable characters while slowly simmering the drama to extract a host of subtle flavours. The genre shift at the end was again a tricky proposition but I did feel that he handled it pretty well thereby accounting for a brilliant watch. The Hitchcockian style of filmmaking coupled with a Shakespearean tragedy was so well pulled off at the end. The direction is splendid overall.
Performances
The performances are excellent by the ensemble cast. Hisham Samsudheen as Iqbal has his moments to shine. Sumith Ilango as Shree is first rate and is just so sincere and earnest in his character. Shyam Fernando as Andrew is such a righteous character, always so polished and endearing that makes him instantly likable. He is consistently well restrained in his act and there is a sense of fluidity to his character with respect to his body language that makes him extremely sincere. Mahendra Perera as Sergeant Bandara is first rate while exploiting the grey shades of his character perfectly. There is a subtle playful streak in his character that will further infuriate you while that also showcases the brilliance of his performance.
Roshan Mathew as Kesuv is a character that can best be termed as passively selfish, a subtle but complex trait that needed a good actor go pull it off. And Roshan is such a phenomenal actor who manages to pull it off with ease. The mystery of his character does lie with the actions that he is capable of, something that was shocking and the shift of tone in his character was wonderfully pulled off. Darshana Rajendran as Amrita just has my heart. She is such a brilliant actor who has such expressive eyes, and here she puts them to great use in agreeing or disagreeing to the situations that her character finds in. Her body language is spot on, more interested in the history of the place and detached from the problems that have emerged following an incident. She is empathetic and has a sense of care towards all humans and creatures below her in the power hierarchy, and she touches so many emotions through her performance that was towering in many ways.
Conclusion
Paradise is a chilling atmospheric thriller disguised as a complex drama on relationships coupled with the references to the Ramayana that makes for an incredible watch. The Hitchcockian twist coupled with a Shakespearean tragedy accounts for masterful filmmaking, even as Paradise manages to impress you with its incredible performances. Available in a theatre near you and Highly Recommended.
