Watching the coy expressions on their faces on the eve of their wedding, it does not seem like Geetika and Sajeev had been lovers before their marriage. Theirs is more likely an arranged marriage, the way the families take care of the preparations even as the bride-to-be whispers under her blanket that she wishes there were no formalities like a reception or a temple function. Perhaps her wishes are about to come true. The wedding day, to say the least, does not go as planned. Adi, the film, shoots off with the cause of its title – a fight. It keeps the tension through the film, but somewhere along the way, Adi loses the conviction it seemed built with. It becomes more of an exercise in making a point, though the film is fresh in its thought and execution.
Director Prashobh Vijayan’s third film after Anveshanam and Lilli does not take the tone of a thriller like the first two. There is an ongoing fight happening in very realistic terms that makes it difficult to end it with a cinematic stunt or two. There is also a budding romance taking the blow. Shine Tom Chacko, in a character unlike his typically quirky ones, makes even the most indifferent viewer appreciate the sufferings of Sajeev, with every small gesture and action. Ahaana Krishna, playing Geetika, has to emote in her most telling scenes by saying nothing at all, and only through very pointed looks. New romance grows amid plain conversations and catchy songs (Govind Vasantha’s).
From the early scenes, the script by Ratheesh Ravi gives its female lead a very defined character. She has unpopular opinions about how the wedding should be – preferring a register marriage in place of a big wedding. You see Sajeev pressing the matter in embarrassed whispers, but she seals it with, “this was already decided right?” When the big fight occurs on the wedding day, Geetika is shown to deal with it calmly, without screaming or crying once. All she has to tell Sajeev is the most practical advice: leave it alone.
Sajeev, in contrast, seems rather familiar with his easy switch of emotions. He gets afraid, he becomes tense, and he wants to fight back. He is not a troublemaker, he likes his peace, but he also has his pride. Sajeev’s family, though very close to him, is blissfully unaware of his turmoil. To his sister (Anu Varghese), he is still the tough guy she points to when her little son needs discipline.
There is also a caste angle in the film, though it is not clear what the film's take on it is. It does seem questionable, while introducing two troublesome characters Joby (Dhruvan) and Kunjon, when there are very clear depictions of their backgrounds. These 'rogue characters' hail from Diamond Colony whose young men are supposed to be notorious. Also noticeable is the nickname of Vellapattar (white Brahmin) given to Joby's character, which could apparently refer to his skin colour, a peachier complexion than others in Diamond Colony. On the other hand, the "better-behaved" characters, including Sajeev, come from a privileged caste (Sajeev's full name is Sajeev Nair). We also hear Sajeev's brother in law give a talk about 'noone playing with us Nairs'.
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It is however clear where the script is headed, the way it keeps bringing up the male ego. Joby and Kunjon who have picked up a fight with Sajeev keep saying it is a men’s game. Dhruvan’s character cannot bear it when he hears a curse word from the girlfriend he had just humiliated in public. Even Sajeev’s otherwise loving character raises his voice to say that he had to prove his manliness to the other guys. Geetika, with her accustomed, impassive face, asks – So, have you become a man now?
Geetika’s character is laid so bare from the beginning that you wonder why only Sajeev would not get it that none of it matters to her, the fight, or who wins it. She is said to be really young and yet is easily the more mature one. However, after a point, the script goes overboard in building her into a character who knows just what to do or say in every difficult situation. It simply doesn’t work when it is just the couple and the two troublemakers Joby and Dhruvan coming together for the big finish.
The point the script makes is laudable, erasing the formula of keeping the women in the background when big exchanges of words or actions happen. In fact, the point comes across through other characters as well – Shiny Sara playing Joby’s mother talks back to her angry son, not putting up with his tantrums.
But on taking the idea overboard and simplifying it, the script loses the thread of realism it was built on – including Sajeev’s reactions, his behavior, and even his jumpy strides that make you put yourself in his shoes until then. It is not a huge disappointment, just something you find hard to digest after some enjoyable performances and direction.
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 film's producers or any other members of its cast and crew.