- Date of Release: 7 March 2025
- Genre: Drama
- Language: Malayalam
- Watch On: Amazon Prime Video
Ouseppinte Osiyathu
Introduction
The hilly areas depicted in the Idukki region of Kerala in the Malayalam film Ouseppinte Osiyathu is a story in itself. The foggy mountainous bylanes paint a hazy picture, almost preparing the viewers for a potential tragedy that is about to unfold. It is the kind of a forelorn warning that is directed towards the viewers in the drama that literally unfolds like a Shakespearean tragedy. It is niche in every sense of the word and not meant for anyone who expects a fast-paced crime thriller. The expectation set is actually the opposite here – it is leisurely paced and relies on the intellect of the viewers to read between the subtext. This, while heavily relying on the character dynamics to understand the nuances of the drama. In a way, the drama reminded me of 2 Malayalam films here – Joji (2021) and Narayaneente Moonnaanmakkal (2025). The common thread between each of these films involves a dysfunctional family at the helm of things featuring three brothers who are poised to be the natural successors to the family. Yet, the eerie atmospherics of Joji cannot be discounted either, almost giving you an impression of a Shakespearean tragedy that is underway!
Story & Screenplay
Written by Fazal Hassan, one of the more interesting aspects of the drama remains its characterization. When you are introduced to the character of the family patriarch Ousep (Vijayaraghavan), you almost witness his stingy nature during his equation with his sons. The man has literally made a fortune while lending money or handling the business of his cardamom plantations. Yet, you can sense the grip that he has maintained on his family featuring his three sons – Michael (Dileesh Pothan), George (Kalabhavan Shajon) and Roy (Hemanth Menon). The same is further highlighted in a scene when you witness Michael equating his life to a jeep that is expected to function without any questions asked. In many ways, this central theme is linked to the suppressed emotions that Michael has for his family. And ironically, this strained aspect of his personality has further resulted in a strained relationship with his wife Annie (Lenaa).
The aspect that connects the estranged relationship of the three brothers is the financial crisis that each of them is undergoing. Michael is a local contractor who is debt-ridden due to a few deals gone awry while Roy (the youngest in the family) is a forest officer who is also in need for a sum of money. Ironically when each of the characters meet Ousep in person, the latter questions on their integrity in wanting to meet him or was it for the money that keeps them connected with him. There is a sombre tone to the drama that has ominous undertones, even as the focus briefly shifts on the old-school romance between Roy and his girlfriend Anjali (Zarin Shihab). There is a sense of longing that doubles up as an early sign for a tragedy that is waiting to unfold at a later point in the drama.
Unlike Joji (2021), the dynamics between the three brothers isn’t exactly strained here. In most parts of the narrative, you witness Michael and George (who is a cop) work together with the chores that are to be carried out. Even the youngest brother Roy is dear to them despite a disagreement that ties them together. On the professional level, you see Roy opposing his brothers for manipulating a contract of making a pond versus using the funds elsewhere. In a scene, you witness George handing a blow to Roy but in the very next scene, observing him with empathy and care that showcased so much affection for his younger brother. The core conflict also isn’t restricted to the finances when it boils down to the equation of the three brothers with their father. There is no compulsion of malice being integrated at this point, which one may expect to be the building blocks of the simmering tragedy. It all acts as a byproduct of guilt that further accentuates the drama when the ‘accidental’ tragedy strikes in the darkest hour of the night with rain pattering in. And the Shakespearean references can be noted during a sequence after the ‘crime’, when a character repeatedly washes his hands filled with blood (a direct reference to the character Lady Macbeth from the Shakespearean tragedy ‘Macbeth’).
There is definitely a Drishyam (2013) reference, particularly with respect to the setting of the tragedy, but the mood of the drama never deviates towards a crime drama. In fact, the focus remains on the emotional aspect of the drama driven by guilt and partly greed that holds the narrative together, even in the wake of another twist that unfolds like another tragedy. The core family dynamics remains shaken here wherein you do feel a sense of empathy for the brothers, even as a potential coverup is underway. The area where the drama minutely stutters is in the investigative portions that do feel a little sloppy and flat, even though the subtext of a strong emotional core remains intact. This is true even for the final act that did feel a little abrupt, although the core sentiments of how the things unfolded in an unexpected manner had me thinking for hours after the film. I must add that I was partly dismissive of the film immediately after the film had ended. But the haunting sentiments of the Shakespearean tragedy had me engulfed for hours after the film, making me feel for every character of the drama. The screenplay in that respect, is a niche and not everyone’s cup of tea. Yet, it is immersive and haunting in many ways that had me hooked surprisingly more, after the film had ended!
Dialogues, Music & Direction
The dialogues are conversational and quite grounded with the understated sombre tone of the drama. It is almost a leisurely ambience that is created through the lines which does set much of the subtext in the drama, particularly with respect to the past of the characters. The music is good with the one song exhibiting a sense of an old school charm that uses longing as a feature to depict a tragedy that is about to unfold. I did feel though that the BGM although good, wasn’t used to its potential. The sound design remained bleak and did accentuate the drama even at critical moments that slightly made the drama underwhelming. I understand the sentiments behind that, of the want to underplay the events but it ideally needed a fizz to elevate the drama that much more.
The cinematography has got to be one of the unsung heroes of the film. The foggy frames depicting the ambience of the Idukki district is directly proportional to the lives of Michael and George in the wake of the twin tragedies that unfold in the drama. The atmospherics also add as a cohesive unit in the drama, holding your attention while allowing you space to empathize with the characters. The editing is pretty good too, devoid of any sudden jump cuts while allowing you enough space to imbibe the atmospherics of the drama. Director Sarath Chandran RJ handles the emotional core of the drama pretty well through some good characterization and world building that binds the narrative together. I liked his narrative style of relying on the intellect of the audience without spoon-feeding them with any information, instead allowing them to read between the text and form their own judgments of the characters. The little stumble was in the final act, particularly with the investigation that felt a little sloppy, but overall, the direction is pretty good and does leave a mark.
Performances
The performances are outstanding by the members of the cast. Kani Kusruti as Dhanya has a stellar screen presence and makes for a solid act, that was even more valueable given how the execution was a little sloppy around it. She held the narrative together at the end. Zarin Shihab as Anjali is such a talented actor who speaks volumes through her eyes and expressions. Her grief is so beautifully conveyed through unsaid words, in a performance that leaves a mark. Lenaa as Annie is wonderfully well restrained and makes for a solid outing for her. Vijayaraghavan as Ousep is excellent to the core in a character that is layered. His posture and stance needs to be studied along with his minimalist performance that is enough to rattle you with his intimidating presence. Hemanth Menon as Roy has a pleasant personality onscreen while leaving a mark as well. Kalabhavan Shajon as George (spot the Drishyam reference in his name) is a diabolically opposite character from the hilarious thug that he essayed in the Malayalam film Bromance (2025). He has a cerebral approach to his character here, who often is known to take pragmatic decisions while having a layer of guilt to complete the circle. It was a layered performance that did hit the bullseye for me. He was briliant to the core. Dileesh Pothan as Michael has got to be an acting masterclass of the highest order. There is so much restraint in his body language that exudes of a sense of guilt with a layer of suppressed emotions packaged in a performance that is excellent in every sense of the word. It is a performance to savour and study, particularly for its nuances of expressing the most heavy emotions in the gentlest manner possible.
Conclusion
Ouseppinte Osiyathu is a niche with its narrative and may not be everyone’s cup of tea. Yet should you choose to stick with it, it is an immersive drama packaged as a Shakespearean tragedy with impeccable performances that makes for a poignant watch. Available on Amazon Prime.
