Golam is a whodunnit straight from the top drawer of an Agatha Christie novel that features an investigation transpiring, following the death of the MD of a company within office premises. A good whodunnit often engages the viewers with the guessing game but given the number of suspects here which are far too unassuming, you don’t exactly participate in the game as far as the whodunnit is concerned. Yet, this shortcoming is perfectly overcome by its screenplay standing at 130 odd minutes that is pacy and offers no respite even for a second. There is a certain beat to the screenplay that initially unfolds through the gaze of the investigating officer and his team who interrogate the staff in the office following the murder. The smallest of details is put to test even as a host of suspects are investigated. But it is the third act that initially felt like a flaw, that ultimately elevates the drama with its detailing!

The drama begins in an office setup wherein you are briefly acquainted with the principal characters who are shown to be viling away their time. This was an interesting beginning given the light and frothy nature of the drama bordering on being frivolous to begin with, that almost lowers the guard of the viewers early on, right until the twist in the tale following the death of a man in the office washroom. It is then that an alert is sounded when the actual investigation kicks off wherein everyone might be a suspect even though there are minimalistic clues to aide the narrative ahead. The setup is such that you empathize with the staff even as they are interrogated for the tiniest of details, even while the guessing game begins but only briefly, observing their body language and mannerisms just like the protagonist does during the investigation. 

The proceedings are engaging and highly indulgent with the beats of the screenplay that provide you with no respite to breath and comprehend. There are clues thrown at you at a rather brisk pace, that almost coax you into being a part of the investigation. And with the trail leading to a particular character, in turn triggering an extended flashback not only converts the whodunnit into a medical thriller but also clears a bit of the smoke-screen created by the narrative with respect to the motive of the drama. While I intend to keep the plot under wraps, the motivation was rather shocking and although implausible given the sinister plot, credit to the makers for tying all the loose ends together for making it believable and poignant, both at the same time.

The revelation of the actual perpretrator comes to light almost immediate thereafter just before the start of the third act, and it made me wonder on why was the revelation pulled off so early in the script. I was skeptical of the drama following the trope of the earlier Malayalam film Abraham Ozler, and recounting on how I had criticized the makers there for spoon-feeding the viewers. But this is where the director stood up to the occasion and served up one of the most thrilling third acts that I may have watched all here. The supposed shortcoming of an early revelation soon evaporated in the midst of God-level detailing that not only had me intrigued but also completely floored with its execution. This was indeed a perfect crime if ever there was one, almost being true to the word revenge – a dish being served cold! I was pleasantly surprised at myself but flashing a smile and silently applauding the turn of events which would have been rapturous had I been sitting in a theatre as a part of the community viewing. By the end of it, not only was I super impressed but also satisfied with the conclusion, although a little spin off at the end hinting for a sequel had me on the fence. I won’t be in a position to say whether or whether not that was the right move, as only time will tell but taking nothing away from the screenplay that was intriguing and made for a splendid viewing.