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Ronthu (Malayalam)
One cannot really explain the uneasiness that lodges in the mind just as a film appears to be going well. Shahi Kabir’s Ronthu, covering one night of patrolling by two police officers in a small town, heads that way– picking all the right elements, including foremost of all, two exceptional actors playing the duo. Dileesh Pothan and Roshan Mathew become perfect contrasts of each other, fitting wonderfully into the blend of the opposing forces they are meant to be. But just as feared, the painstakingly written script, without a moment of lull in it, veers off to what seems like a hastily patched-up climax.
Shahi Kabir, a former police officer known for scripting grounded police stories, has also directed Ronthu, clearly drawing from his experiences in the field. Dileesh plays the middle-aged and tough Yohannan, on patrol with a young novice Dinanath, played by Roshan. Yohannan is clearly no one's favourite, and he appears least inclined to change anyone’s opinion of him. Dinanath, anxious about his sick little girl at home, is frustrated by the taunts of the senior cop.
The earlier half of the film flows smoothly, from incident to incident, trimmed to just the interesting parts and presented in the language of reality. Cases of missing persons, drunken driving, domestic violence and even suicide become part of their night. It familiarises the two characters, their peculiarities becoming clearer to us, but especially to each other.
Yohannan, who evokes fear in everyone at work, is sweet to the point of annoyance with his wife. The man with the foul mouth also has a humorous side, and Dileesh is most admirable with his unnoticeable little gestures, the faint look of amusement, the quick softening of eyes. Dinanath is more or less easy to read, idealistic but not cinematically brave. Naive and vulnerable, he becomes the diametric opposite of Yohannan. Even physically, Roshan can be the Laurel to Dileesh’s Hardy.
Until the last few sequences, the script is tight to the point of exhaustion, courtesy of the workmanship of the editor (Mangalath Praveen). There is even some carefully crafted humour, appreciatively tucked into the folds of duty. In these and other moments, especially one involving a haunted house, Anil Johnson’s music can really alter the mood.
Another sequence concerning caste bears a semblance to a real-life tragedy, but the focus of the script is on the police officers who become involved in it.
Nearly all of the film and all of its emotions are wound around the two main characters. Neither actor slips in the slightest way, only the final chapter of the script does.
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.