Irul: Fahadh Faasil’s Terrific Sinister Act Obfuscated By An Unconvincing Plot

Irul(Netflix)

Starring Fahadh Faasil, Soubin Shahir ,Darshana Rajendran

Directed  by  Naseef Yusuf Izuddin

Rating: ** ½

Being a  Fahadh Faasil fan, I really wanted to  like this  thriller. And in parts, I did. But  on the whole, the delicate  adroitly-drawn  structure required to ignite  a whodunit,  specially one with  only three characters  in it is  sadly lacking  here.  The plot has  a lot going for it. It first introduces  us  to  Alex(Shoubin Sahir) whose girlfriend Archana(Darshana  Rajendran) isn’t  able to give him time.

Problem No.1:  Alex  and Archana don’t look like a  couple.Is this a casting anomaly or  a plot-driven glitch? I don’t know. The mysterious movements  of the plot are  enticing  but not convincing. While the three principal protagonists  have  trust issues amongst one another, we  facea  similar   situation of  doubt and  distrust regarding the events   framing and  propelling the  plot.And  also about the  very existence  of the  film.

But sorry,  we are jumping the  gun(which by the way plays  a big part  in the climax, the gun I mean). Alex,  to get Archana all for himself , steals her away to  a hideout in the hills without phones. Their car breaks down in the rain and they take  shelter  in a  large  fascinating mansion where they meet a stranger.

No bumper  prizes  for guessing  who  the stranger is. For me  , any film featuring the incredible Fawadh Faasil that takes  30 minutes  to introduce him is a failure.  In  a printed silk  dressing gown ,and  an evil glint under  the over-sized  spectacles,  Fawadh  cuts a intriguing figure  offering wine and conversation to the stranded couple.And  also, clothes to the drenched girl which strangely fit her  perfectly.

It’s all downhill  from there, I am afraid. And I don’t mean for  the characters alone. The body-in-the-basement  brand of murder mystery  just doesn’t work here. What does work is the way the dynamics among the triumvirate  shift, from one  man to the  other  and at one point it’s the woman in  charge  of  the  proceedings.

 Finally, though, I found myself disappointed  by  this interesting  but incomplete and often  illogical thriller  which is beautifully shot in  deep moody colours, from  wine-red to  orange-glow  by cinematographer  Jomon T  John.  But the  characters  lack  convincing motivation. In the end the film proves as listless as  the corpse in the basement. And  just as  pointless. Why make  a character-driven  chamber-piece because that’s what was  the order of the day during the lockdown? We need  a  better reason for film starring the great  Fawadh Faasil.