Sookshmadarshini review: Nazriya-Basil film is a fun, smartly written thriller

A window coated with bright colours, in the shape of a circle and at the top of the wall, is almost as fascinating as the images that the woman of the house sees through it, when she reaches for it, perched on a chair. The view is of the large compound of the house across her fence, small enough for her to climb over and pluck a few curry leaves from, for lunch. Nazriya’s famous wide eyes stare through the pane, as she is driven there from the kitchen window she can’t see enough from. Who knew that the simple act of looking, accompanied by the beats of thumping music, could send chills down spines and drive a pacy story forward? MC Jithin did apparently, directing a smartly-written script, putting Nazriya and Basil Joseph in the thick of it, and pulling off one helluva thriller with Sookshmadarshini (meaning microscope, naturally). 

It is a cosy little neighbourhood, some way off the buzz of the city of Kochi, and old-fashioned enough for the neighbours to be all neighbourly – spending time at each other’s, exchanging confidences. Relatably, a Whatsapp group of the women in the neighbourhood is abuzz all the time, where news of the neighbourhood and preachy voice messages pop up all the time. These are breezy intros, setting the ways of life of a neighbourhood that appears torn between conventions and modernities. The proximity of the people and the outward appearances make the setting closer to the famous camaraderie of village life, while the forwardness of attitudes leans towards newer ideas. 

No lengthy scenes are written to create this setting, and Chaman Chakko’s editing is tight enough to forbid distractions. As a respite to all the tension though, the scriptwriters allow doses of comedy, putting Siddharth Bharathan, an actor you don’t expect for it, primarily in charge. 

Jithin wrote the script in the company of Athul Ramachandran and Libin TB, all of whom appear to be strong believers of not wasting time. The tension begins right away, as soon as Basil’s character Manuel appears with his elderly mother (Manohari Joy), who seems unwell and not talkative. You are forced to pay extra attention to the mother in what would seem like perfectly ordinary moments only because Priya (Nazriya) keeps looking at her and the music (Christo Xavier’s) keeps racing. In that way the director appears to get up from his chair and direct the audience too: note this scene, you will need it later. 

Priya’s interest in the mother is necessary for the script, but not entirely natural unless you accept her as one of those overly perceptive ones who would have done well as a private eye (literally). Nazriya retains the gestures of her famous characters of the past with expressive body language, even as she attempts a deeper voice to perhaps sound mature for the role of a young mother, celebrating nine years of marriage. Deepak Parambol, playing the husband, and a little girl, their daughter, take time getting used to, since Nazriya – even in her traditional kurthas and saris – almost seems out of place in that setting. It is good writing that her character retains qualities of what is associated with younger women – jumping at good news, unafraid to act on her instincts and getting obsessed with an idea. Ageing does not automatically throw open doors inside your brain for you to push out what others label as juvenile. You are your own person. 

It also allows Priya to go out of the way, in the way a regular homemaker wouldn't, to pry into what she is sure are unusual circumstances. The first time she gets a glimpse of Manuel – through the window of course – he is throwing a stone at a harmless kitten. Basil, perhaps following a rule he set for himself, bears no resemblance to his last few characters. This guy is full of charm, crookedness and a creepy sort of calm. Together, Nazriya and Basil play the basic characters you need in a mystery thriller – the pursuer and the suspicious. Only here, for a long time, you have no idea what the mystery is, and that only adds to the chills.

Then there are the co-pryers. The friendship between the women in the neighbourhood is not celebrated with song and dance but it is just lovely to watch them in action. The planning, the get-together, the advice – it is as fun as it is thrilling. Pooja Mohanraj and Akhila Bhargavan deserve special applause, for effortlessly adding to the comedy that Siddharth Bharathan unexpectedly masters in. He has only a few scenes, but those are worth vouching for. In hindsight though, they may seem like dark comedy.

You can pick a few unfitting elements from the script, lovely as it is. The introduction of Priya for one, showing a bit of slyness in character that doesn’t fit the rest of the storyline, or the explanation of Alzheimer's, or even the too-easy ending, is slightly offputting in an otherwise enjoyable thriller. But, not complaining at all.

Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the producers or any other members of its cast and crew.