Set in the 1980s, Anchakkallakokkan follows the story behind a murder investigation taking place wherein a cowardly police constable must survive his initial days at a local police station while trying to decipher the case. The story here is only the tip of the iceberg as there is just so much to uncover during the course of the film. The writing is experimental, zany and aggressive while narrating the drama in a non-linear pattern that almost makes the entire film seem to be a giant jigsaw puzzle. It almost nudges you to be attentive throughout the narrative particularly with the names of characters, and there are some stellar rewards to be had at the end of the screenplay standing at 120 odd minutes. And the homage to Quentin Tarantino’s Pulp Fiction is quite evident as the writing also touches upon the local folklore in the drama(hence, the name of the film). 

The drama showcases its brilliance with respect to its narrative very early on wherein there is a murder that takes place. The writers provide no context as to who the character is and what is his backstory. It was established very early on that this narrative style was going the non-linear route which is a rarity in Malayalam films. The Malayalam films that I have watched usually prefer to focus on the world building and the characterization while consistently delaying the inevitable. But the mode here is experimental wherein you are soon introduced to the principal characters including the protagonist who is shown to be a cowardly constable who has freshly joined duty in a small town on the Kerala-Karnataka border. Soon, the cops are embroiled in the investigation after retrieving the body even as there is an undercurrent of politics running throughout the narrative. The only question remains on who is the ultimate culprit. 

The proceedings are absolutely zany and go bonkers with the narrative. There are multiple threads that are introduced which may seem independent of each other with a promise that the worlds will meet at some point, a la Pulp Fiction. In fact, the drama itself is pulpy dabbling with streaks of comedy in an otherwise serious narrative in a world that comprises of some zany characters. And even while you try to wrap around your head as to what the missing links in the narrative are, there are a bunch of new characters introduced that add a different flavour in the narrative. The pre-interval fight sequence at a local bar has got to be one of the most memorable sequences for me this year, playing out perfectly in sync with a pulsating background score that consistently raises the intensity with its beats. In between, there are cultural references of a folklore that seemingly has no connection to the story(as you are unsure on how that would connect to the main plot). The twist at the halfway mark is interesting and sets things perfectly well for the rest of the drama to follow.

The events in the second hour really soak itself in the non-linear narrative that makes the puzzle a little more complex to begin with. However, soon you get the hang of its style that helps you to join the dots along the way with respect to the multiple characters and how they are interlinked with the central plot of the film which is that of a murder investigation. The revelation itself isn’t as shocking and seemed a little routine but its treatment made me marvel at its brilliance with respect to its narrative style. The extended 30 minute climax takes place at a single location and this is where the drama goes absolutely bonkers. The entire fight sequence was so engrossing and edge of the seat stuff that I couldn’t help but admire its ballistic nature leading up to a shocking but supremely satisfying final act. I literally was clapping by the time the end credits began to roll. Overall, the screenplay is outstanding to the core that is successful in transforming even a simplistic plot into something so brilliant.