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Kaapa review: రివ్యూ: కాపా

Kaapa movie review: పృథ్వీరాజ్‌ సుకుమారన్‌ నటించిన ‘కాపా’ ఎలా ఉందంటే?

Kaapa movie review; చిత్రం: కాపా; నటీనటులు: పృథ్వీరాజ్‌ సుకుమారన్‌, ఆసిఫ్‌ ఆలీ, అపర్ణా బాలమురళి, అన్నా బెన్‌, దిలీష్‌ పోతన్‌, జగదీశ్‌ కుమార్‌, నందు తదితరులు; సంగీతం: డాన్‌ విన్సెంట్‌, జేక్స్‌ బిజోయ్‌; సినిమాటోగ్రఫీ: జోమన్‌ టి.జాన్‌; ఎడిటింగ్‌: షమీర్‌ మహ్మద్‌; రచన: జి.ఆర్‌.ఇందుగోపన్‌; నిర్మాత: డాల్విన్‌ కురియకోస్‌, జిను వి.అబ్రహాం, దిలీష్‌ నాయిర్‌, విక్రమ్‌ మెహ్రా, సిద్ధార్థ్‌ ఆనంద్‌కుమార్‌; దర్శకత్వం: షాజీ కైలాస్‌; స్ట్రీమింగ్‌ వేదిక: నెట్‌ఫ్లిక్స్‌

ఇతర భాషల్లో విజయవంతమైన చిత్రాలను ఓటీటీ వేదికలు అన్ని భాషల వారికీ అందుబాటులోకి తెస్తున్నాయి. గత కొంతకాలంగా ఈ ట్రెండ్‌ కొనసాగుతోంది. అలా తాజాగా ప్రముఖ ఓటీటీ నెట్‌ఫ్లిక్స్‌ వేదికగా వచ్చిన చిత్రం మలయాళ చిత్రం ‘కాపా’. ఈ మలయాళ యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది? గ్యాంగ్‌స్టర్‌గా పృథ్వీరాజ్‌ సుకుమారన్‌ నటన ఎలా ఉంది?

కథేంటంటే: ఆనంద్‌ (ఆసిఫ్‌ ఆలీ) ఐటీ ఉద్యోగి. బిను త్రివిక్రమన్‌ (అన్నాబెన్‌)ను వివాహం చేసుకుని బెంగళూరు నుంచి తిరువనంతపురానికి బదిలీపై వస్తాడు. ఆ పట్ణణం గ్యాంగ్‌స్టర్‌లకు అడ్డా. కేరళ ప్రభుత్వం గ్యాంగ్‌స్టర్స్‌ను, వారి చర్యలను అరికట్టేందుకు ‘కాపా’ (కేరళ యాంటీ సోషల్‌ యాక్టివిటీస్‌ ప్రివెన్షన్‌ యాక్ట్‌) అమలు చేస్తుంది. ఒక రోజు అనుకోకుండా పోలీస్‌ ద్వారా తన భార్య బిను త్రివిక్రమన్‌ పేరు ‘కాపా’ కింద లిస్టయిన క్రిమినల్స్‌ జాబితాలో ఉండటం ఆనంద్‌ గుర్తిస్తాడు. పాత గొడవల కారణంగా తన భార్యకు ఎలాంటి ప్రాణహానీ జరగకూడదని తిరువనంతపురంలోని పెద్ద గ్యాంగ్‌స్టర్‌ అయిన కొట్ట మధు (పృథ్వీరాజ్‌ సుకుమారన్‌)ను కలిసి వేడుకుంటాడు. ఈ విషయంలో మధు భార్య, డిప్యూటీ కలెక్టర్‌ అయిన ప్రమీలా (అపర్ణా బాల మురళి) సాయం చేస్తుంది. ఇంతకీ ‘కాపా’ యాక్ట్‌ కింద ఉన్న తన భార్య పేరును ఆనంద్‌ తొలగించగలిగాడా? (Kaapa movie review) ఈ క్రమంలో అతడికి ఎదురైన పరిస్థితులు ఏంటి? అసలు కొట్ట మధు ఎలా గ్యాంగ్‌స్టర్‌గా ఎదిగాడు? తదితర విషయాలు తెలియాలంటే సినిమా చూడాల్సిందే!

ఎలా ఉందంటే: పట్టణంలో రెండు గ్యాంగ్‌స్టర్‌ గ్రూపులు.. వాటి మధ్య ఆధిపత్యపోరు. ఇటు రాజకీయాలు, అటు పోలీసులు... ఇలాంటి ముడి వస్తువులతో అనేక సినిమాలు వచ్చాయి. ‘కాపా’ కూడా అలాంటి బాపతే. ఆనంద్‌ ప్రయాణిస్తున్న కారు బోల్తా పడటంతో సినిమాను ప్రారంభించిన దర్శకుడు అంతకుముందు ఏం జరిగిందన్న ఇంటెన్స్‌ డ్రామాతో కథ మొదలు పెట్టాడు. ఒక్కో పాత్రను పరిచయం చేసుకుంటూ, రెండు గ్యాంగ్‌స్టర్‌ గ్రూప్‌ల మధ్య ఉన్న వైరాన్ని చూపించుకుంటూ వచ్చాడు. కానీ, ఆ సన్నివేశాల్లో బలమైన ఎమోషన్‌ లేదు. ఒక ఫక్తు కమర్షియల్‌, రొటీన్‌ డ్రామాగా ఆయా సన్నివేశాలు సాగుతాయి. నటీనటులు మారుతున్నారు తప్ప, కథా నేపథ్యం ఏ మాత్రం మారడం లేదు. ‘కాపా’లో చిన్న మార్పు ఏంటంటే.. తన భార్యను కాపాడుకునేందుకు భర్త చేసే ప్రయత్నాలు ఎలాంటి పరిస్థితులకు దారితీశాయన్న హుక్‌ పాయింట్‌ను చివరి వరకూ తీసుకెళ్లాడు దర్శకుడు. (Kaapa movie review)  కొట్ట మధుగా పృథ్వీరాజ్‌ పాత్రను కూడా బలంగా ఏమీ తీర్చిదిద్దలేదు. ఒకట్రెండు ఫైట్‌ సీన్స్‌తో ఆ పాత్ర బలాన్ని, సామర్థ్యాన్ని చెప్పేస్తే సరిపోతుందని అనుకున్నారు. మధు ఫ్లాష్‌బ్యాక్‌లో బలమైన సన్నివేశాలు లేవు. దీంతో ఒక రొటీన్‌ కమర్షియల్‌ మూవీ ‘కాపా’ మిగిలిపోయింది. ‘కడవు’ హిట్‌ కావడంతో దర్శకుడు షాజీకైలాస్‌ అదే టెంపోతో సినిమా తీస్తే సరిపోతుందనుకున్నారు. అయితే, పతాక సన్నివేశాలు మెప్పిస్తాయి. అక్కడ వచ్చే ట్విస్ట్‌ మాత్రం ఆసక్తిని కలిగిస్తుంది. పగలు, ప్రతీకారాలు కొనసాగుతాయని, మరో చిత్రం ఉంటుందన్నట్లు సినిమాను ముగించారు. అయితే, కథకు మాత్రం అంత స్కోపు లేదు. పతాక సన్నివేశాలను ఇంటర్వెల్‌కు తీసుకొచ్చి, అక్కడి నుంచి అపర్ణ బాలమురళి, అన్నా బెన్‌ల మధ్య పోటీ పెట్టి ఉంటే సినిమా అలరించేదేమో!

ఎవరెలా చేశారంటే: పృథ్వీరాజ్‌ సుకుమారన్‌, అపర్ణా బాలమురళి, ఆసిఫ్‌ ఆలీ ఇలా ఎవరి పాత్రకు వారు న్యాయం చేశారంతే. ఫలానా పాత్ర అదిరిపోయిందని మాత్రం చెప్పలేం. సాంకేతికంగా సినిమా ఓకే. నేపథ్య సంగీతం చాలా సన్నివేశాలను ఎలివేట్‌ చేసింది. తొలుత ఈ చిత్రానికి వేణు దర్శకత్వం వహించారు. అయితే, సృజనాత్మక వైరుధ్యాల కారణంగా సినిమా నుంచి తప్పుకొన్నారు. ఆ స్థానంలోకి వచ్చిన షాజీకైలాస్‌ ఒక రొటీన్‌ కమర్షియల్‌ మూవీగా ‘కాపా’ను చుట్టేశారు.

బలాలు: + నటీనటుల సహజ నటన; + పతాక సన్నివేశాలు

బలహీనతలు: - రొటీన్‌ గ్యాంగ్‌స్టర్‌ డ్రామా; - నెమ్మదిగా సాగే కథనం

చివరిగా: ‘కాపా’ అలరించడం కష్టమే! (Kaapa movie review)

గమనిక: ఈ సమీక్ష సమీక్షకుడి దృష్టి కోణానికి సంబంధించింది. ఇది సమీక్షకుడి వ్యక్తిగత అభిప్రాయం మాత్రమే!

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గమనిక: ఈనాడు.నెట్‌లో కనిపించే వ్యాపార ప్రకటనలు వివిధ దేశాల్లోని వ్యాపారస్తులు, సంస్థల నుంచి వస్తాయి. కొన్ని ప్రకటనలు పాఠకుల అభిరుచిననుసరించి కృత్రిమ మేధస్సుతో పంపబడతాయి. పాఠకులు తగిన జాగ్రత్త వహించి, ఉత్పత్తులు లేదా సేవల గురించి సముచిత విచారణ చేసి కొనుగోలు చేయాలి. ఆయా ఉత్పత్తులు / సేవల నాణ్యత లేదా లోపాలకు ఈనాడు యాజమాన్యం బాధ్యత వహించదు. ఈ విషయంలో ఉత్తర ప్రత్యుత్తరాలకి తావు లేదు.

రివ్యూ: 1000 బేబీస్‌: చిన్నారుల విషయంలో మహిళ చేసిన నేరమేంటి?

రివ్యూ: తత్వ.. దేవుడున్నాడా.. క్యాబ్‌ డ్రైవర్‌కు ఏం బోధపడింది?

రివ్యూ: జనక అయితే గనక.. సుహాస్‌ కామెడీ ఎంటర్‌టైనర్‌ మెప్పించిందా?

రివ్యూ: జిగ్రా.. అలియా భట్‌ నటించిన యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: మార్టిన్‌.. ధృవ సర్జా నటించిన యాక్షన్‌ థ్రిల్లర్‌ మెప్పించిందా?

రివ్యూ: విశ్వం.. గోపీచంద్‌ - శ్రీను వైట్ల కాంబో అలరించిందా?

రివ్యూ: మా నాన్న సూపర్‌ హీరో.. సుధీర్‌బాబు ఎమోషనల్‌ డ్రామా ఎలా ఉంది?

రివ్యూ: వేట్ట‌య‌న్... ది హంట‌ర్‌.. రజనీకాంత్‌ యాక్షన్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: ది సిగ్నేచర్‌.. అనుపమ్‌ ఖేర్‌ ఎమోషనల్‌ డ్రామా ఎలా ఉందంటే?

రివ్యూ: సీటీఆర్‌ఎల్‌: అనన్య పాండే స్క్రీన్‌లైఫ్‌ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: బాలు గాని టాకీస్‌.. థియేటర్‌లో వృద్ధుడి చావుకు కారణమెవరు?

రివ్యూ శ్వాగ్‌.. శ్రీవిష్ణు ఖాతాలో హిట్‌పడిందా?

రివ్యూ: స్త్రీ2.. రూ.800 కోట్లు వసూలు చేసిన హారర్‌ కామెడీ థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: సత్యం సుందరం.. కార్తి, అరవిందస్వామి మూవీ ఎలా ఉంది?

రివ్యూ: దేవర.. ఎన్టీఆర్‌-కొరటాల యాక్షన్ థ్రిల్లర్ ఎలా ఉంది?

రివ్యూ: యుధ్రా.. బాలీవుడ్‌ యాక్షన్‌ చిత్రం ఎలా ఉంది?

రివ్యూ: సోపతులు.. దూరమైన స్నేహితులు కలుసుకున్నారా?

రివ్యూ సెక్టార్‌ 36.. ఆ వరుస హత్యల వెనక ఏం జరిగింది?

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'Kaapa' review: Gritty, faithful adaptation

One of the reasons I’m enamoured by the work of GR Indugopan is the vividness he brings to his scenarios. His stories carry the smell and flavour of the cities where they take place. His characters possess distinct personalities, and the local dialect flows through the pages like poetry. The lightning-fast pacing of his narratives makes it difficult for me to take continuous pauses. I always try to finish them in one sitting.

It’s been a while since I’ve read Indugopan’s Thiruvananthapuram-set novella Shankumukhi, but the principal characters and events were still fresh in my mind before I set out to the theatre. I wasn’t too sceptical about Shaji Kailas directing it, given his experience with a gritty, extremely violent gangster drama in 1997 called Asuravamsham. It’s a rarity in his filmography. I was a kid back then, and I remember being disturbed by some of the gory portions in it that grown-ups would more easily digest.

But this was a phase where I was familiar with almost the entire filmography of Shaji Kailas. For someone who had at that point only seen the more massy films of the director, something like Asurvavamsham, which differed strongly in tone from his other films, was unexpected. So did Shaji Kailas deliver with Kaapa? That would be a yes!

Here’s the thing. For me, it was more important to see the film do justice to Indugopan’s story than become an acting exercise. Kaapa is not, after all, trying to be The Godfather or Goodfellas. It’s determinedly a commercial entertainer—the movie more than the book, I would say. It closely follows the source material’s plot structure, including the final twists. Of course, we expect some minor ‘massy’ embellishments, considering this is a big theatrical release fronted by a superstar, Prithviraj, accompanied by three other top names from Malayalam cinema in the lead roles.

But at its core lies the same spirit we found in the notable Ram Gopal Varma films like Satya, Company, Sarkar, or the Vishal Bhardwaj gangster dramas. I’m not saying Kaapa is on par with those films in finesse and craftsmanship. But it’s a fairly enjoyable crime adventure thanks to Prithviraj doing full justice to the character, Kotta Madhu, whose physical description differs from the one in the book. But does that really matter when the actor gets the character’s essence right?

A ferocious and headstrong character, Kotta Madhu deserved an actor of Prithviraj’s stature. Madhu is an imposing man who navigates Indugopan’s story with the Damocles’s Sword hanging over him every second and minute. He knows what his sins are. You get the sense that he would’ve done things differently had he been given a chance to live his life differently for the second time. And he comes across as someone willing to accept any punishment for his past transgressions.

This is how Prithviraj plays Kotta Madhu in the film too, and it gets most of my brownie points for getting this portrayal right. He plays him as a man with a tough exterior but tormented by an event that made him the dreaded don that he is today. And we get a brief flashback of this, staged in the film exactly how I imagined it while reading it. It’s one of the film’s rare emotional high points but done without resorting to melodrama, and one whose after-effects are strongly felt in the present.

As I said earlier, Shaji Kailas and cinematographer Jomon T John stay true to Indugopan’s vision. They get the sombre mood of the book right, except, of course, for instances where we get the classic Shaji Kailas moments, some that seem cliched due to our encounter with similar moments in movies we have seen before. Others are welcome because today, we rarely get the massy slo-mo fights or assertive war cries. Like Asuravamsham, it is a Shaji Kailas movie that doesn’t look like a Shaji Kailas movie.

That said, I would’ve loved to see some nuance exercised in the dialogue delivery, particularly with regard to the khaki-clad supporting cast members, who sound like characters from the weaker movies of Shaji Kailas. These are the areas where the film’s energy dips, and I wish the makers invested more time to give us something we have not seen before. Remember the shady cop played by Indrans in Malik? How chilling he was in that! I hoped for a similar directing choice here.

Also, when there are names like Aparna Balamurali and Anna Ben, you expect them to do more than what we got in Kaapa. A potential sequel might bring in better things: Kaapa ends with the hint of one while not exactly announcing it.

Dileesh Pothan offers no surprises as Latheef, a newspaperman with his own agenda, and Kotta Madhu’s rival. However, being the skilled performer he is, Dileesh is admirably effective at selling us Latheef’s intentions. He is not the “villain” of this story.

In fact, none of the characters in Kaapa can be called black or white. Grey is the dominant colour. There is someone I would call “idealistic,” and that’s Asif Ali’s Anand, a role that the actor pulls off with considerable ease.

If Kaapa is supposed to be a poignant meditation on lives altered by violent events, it doesn’t quite succeed in stirring our emotions on a deeper level. But, as a cinematic portrait of a way of life, it does. Some express regrets, but there is no going back from a life of crime. Some bravely forge ahead, trapped forever in the cyclical pattern of violence.

Film: Kaapa Director: Shaji Kailas Cast: Prithviraj Sukumaran, Aparna Balamurali, Asif Ali, Anna Ben Rating: 3.5/5

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The film explores the dark underbelly of Thiruvananthapuram where rival goondas clash in cold-blooded gang wars to gain dominion over the city's suburbs and slums. The film explores the dark underbelly of Thiruvananthapuram where rival goondas clash in cold-blooded gang wars to gain dominion over the city's suburbs and slums. The film explores the dark underbelly of Thiruvananthapuram where rival goondas clash in cold-blooded gang wars to gain dominion over the city's suburbs and slums.

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• Alternate versions The UK release was cut, the distributor chose to make cuts to scenes of strong violence in order to obtain a 12A classification. An uncut 15 classification was available.

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Kaapa review: A half-boiled gangster film with a magnificent performance by Prithviraj

One of the noteworthy films of director Shaji Kailas, this could have become his best had he focused on the emotional quotient and music.

Published:Dec 23, 2022

Prithviraj Sukumaran is the show-stealer in Shaji Kailas' latest release 'Kaapa'. (PrithviOfficial/twitter)

Loud music & emotionless script play spoilsport!

Kaapa (Malayalam)

• Cast: Prithviraj Sukumaran, Asif Ali, Aparna Balamurali, Dileesh Pothan, Jagadish Kumar, Anna Ben, Nandhu, Sajitha Madathil, and Senthil Krishna
• Director: Shaji Kailas
• Production: FEFCA Writers’ Union
• Music: Dawn Vincent
• Runtime: 2 hours 16 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

Kaapa (Goonda Act) is the story of a young couple — Anand and Binu — who shifts to Thiruvananthapuram.

Through a police officer, Anand finds out that his wife’s name is on the list of criminals under the Kaapa/Goonda Act.

A police officer tells him that a notorious gang is after Binu and he should clear the issue with the gang as the first thing to stay in Thiruvananthapuram.

Soon, he gets involved in a violent gang war. What happens to Anand and Binu forms the rest of the story.

The plot is based on GR Indugopan’s book Shankumukhi . A couple of minutes into the film, director Shaji Kailas introduces us to the world of violence.

Good and mediocre at the same time

Kaapa is a major step forward in terms of story as well as making when compared with Kaduva , the director’s previous collaboration with Prithviraj.

The movie is good and mediocre at the same time. There are moments, characters, and developments that are well-written.

For example, the guilt Madhu has for using a boy’s hunger to commit a crime. Then, suddenly, the film falls to mediocre with a loud soundtrack and over-the-top stunt sequence.

More such scenes were needed for viewers to develop a feeling towards the characters. This could have been an absolutely brilliant script.

Notable film of Shaji Kailas, but not his best

Shaji Kailas’ ‘Kaapa’ is one of his notable works. (PrithviOfficial/Twitter)

It is good in places and definitely one of the notable works of Shaji Kailas since Chinthamani Kola Case in 2006.

However, Kaapa is not in his kit of best movies.

With the kind of scenes and wide story, it could have been better. It has a great plot to work with. Strong moments pop up but vanish without much impact.

For example, the relationship Aparna Balamurali has with Asif Ali and Prithviraj. The dimensions among the three characters should have worked more.

It is heavily bogged down by the tight-but-emotionless script and the music tracks.

Had the director concentrated on such portions or the emotional parts, like the boy whom Madhu uses to commit a crime, it would have become a great film.

KOTTA MADHU! 🔥 #KAAPA In theatres now! 😊 pic.twitter.com/pth32zNYh8 — Prithviraj Sukumaran (@PrithviOfficial) December 22, 2022

A brilliant Prithviraj, an impressive supporting cast

Prithviraj Sukumaran in ‘Kaapa’. (PrithviOfficial/Twitter)

While all the actors should be praised for giving their best, Prithviraj Sukumaran steals the show as Kotta Madhu.

He is fantastic in the scene where he seeks revenge and kills a goon for murdering his brother.

I am in awe of Prithviraj’s performance in this extremely emotional action sequence!

All the female characters got good screen space. Aparna Balamurali is really convincing as Pramila, the powerful wife of Kotta Madhu. Anna Ben as Binu is also good.

Asif Ali as Anand is too good. Jagadish as Jabbar and Dileesh Pothan got meaty roles and both delivered impressive performances.

What didn’t work?

The colour tone, or the filter used in Kaapa , is not at all impressive.

But the worst part of the movie is the soundtrack and background score composed by Dawn Vincent.

The title sequence started with a bit that was similar to that of KGF , followed by numerous loud tracks till the climax. The noisy background score takes the movie to a lot of places, but it never really goes where it should.

The film would have done wonders with a more serious (less commercial) approach in terms of making and music.

Starring @PrithviOfficial – @Aparnabala2 – #AnnaBen – #AsifAli ICYMI catch the trailer of #KAAPA ▶️ https://t.co/iiZYa3nCrl A #ShajiKailas Movie In cinemas from Dec 22nd! #ShajiKailas #jomontjohn #JinuVAbhraham #SiddharthAnandkumar #dolwinkuriakose #Dileesh #DawnVincent pic.twitter.com/OwuHJRFkBS — Saregama South (@saregamasouth) December 14, 2022

All said, what saves Kaapa is Prithviraj’s magnificent on-screen presence as the brutal Kotta Madhu, and the almost all-star ensemble cast that pops up in supporting roles throughout the film.

The movie ends leaving a few auxiliary verbs like would have, could have, and should have. In all, Kaapa is a half-boiled gangster flick that still tastes good.

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Kaapa Movie Review: This Prithviraj gangster drama is a different attempt from Shaji Kailas

Director shaji kailas's kaapa, starring prithviraj, asif ali and anna ben, is a gangster drama done differently. the film, however, has its own share of flaws, says our review..

Listen to Story

• Kaapa hit the theatres on December 22.
• The film is directed by Shaji Kailas.
• Prithviraj, Asif Ali, Anna Ben and Aparna Balamurali play lead roles in the film.

Release Date: 22 Dec, 2022

As the movie starts off, we are introduced to a married couple, Anand (Asif Ali) and Biju (Anna Ben), who shift from Bengaluru to Thiruvananthapuram. Anand then finds his wife’s name in the Kerala Anti-social Activities Prevention Act because of news stories that carried her name along with crimes she allegedly committed. He then tries to clear her name, claiming she is innocent, and seeks out Kotta Madhu (Prithviraj), the city’s leading gangster, for help. Anand then meets Madhu’s wife Prameela (Aparna Balamurali) and pleads for her help. It is after this that Anand inadvertently gets caught up between the local gang wars.

Set in Thiruvananthapuram, the movie revolves around the local gangsters and rivalries in the city. Kaapa is taken from Anand’s perspective but it’s not consistent throughout the film. We are drawn into Madhu’s world and the second half becomes tedious. The climax twist is also predictable.

Kotta Madhu reminds us of a sophisticated 90s gangster, who eventually turns politician. As arrogant and ruthless as Madhu is, we also learn that he has a heart. The scenes between a younger Madhu and the small boy show his softer side, but we never get to know who Madhu really is and what his motivations are. He is plagued by constant guilt, an emotion which we repeatedly see in the film. And that is also his downfall.

Kaapa sees Prithviraj join hands with director Shaji Kailas once again after Kaduva, which was a hit. Kaduva, however, received mixed reviews. And Kaapa is better than Kaduva. This movie was inspired by writer G R Indugopan’s novella about Kaapa. Indugopan wrote the dialogues for the film. Shaji Kailas, who is known for his mass local films, attempted to make a dark gangster drama with Kaapa and succeeded for the most part.

With regards to the supporting cast, there are exceptional actors like Asif Ali, Dileepan Pathan, Jagadish, Aparna Balamurali, Anna Ben. Prithviraj's act is flawless, but Asif Ali doesn’t look too comfortable as Anand. Not all of them are able to show off their acting prowess due to limited screen time.

The cinematography by Sanu John Varughese and music by Justin Varghese are some of the highlights in this film.

Kaapa is one of the better films from Prithviraj this year, among the six releases he had. Those going to watch Kaapa for Shaji Kailas and Prithviraj must go with an open mind for a new experience.

3 out of 5 stars for Kaapa. Published By: K Janani Published On: Dec 22, 2022 --- ENDS --- ALSO READ | Prithviraj Sukumaran believes Shah Rukh Khan's Pathaan will end Bollywood's dry spell. Watch

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Home » Review » Kaapa movie review: Prithviraj Sukumaran, Asif Ali’s gangster-drama lacks emotional heft to be engaging enough »

Kaapa movie review: Prithviraj Sukumaran, Asif Ali’s gangster-drama lacks emotional heft to be engaging enough

Shaji Kailas hits a meter from the first scene of the film and maintains this till the end, which is a tough aspect to do and this makes the movie watchable

• Sanjith Sidhardhan

Last Updated: 02.29 PM, Dec 22, 2022

Story: After young couple Anand (Asif Ali) and Binu (Anna Ben) move to Thiruvananthapuram, the former unexpectedly finds out that his wife’s name is the list of criminals under Kerala Anti-Social Activities (Prevention) Act, thanks to a crime tabloid. In his efforts to clear her name, Anand becomes aware that he must first prove that she’s innocent of the crimes propagated under her name by the tabloid, to the city’s gangster Kotta Madhu. How he gets involved in the city’s gang wars and its ramifications form the plot of the film.

Review: In a scene that reveals the emotional side of Kaapa’s protagonist Kotta Madhu, director Shaji Kailas presents his chance meeting with a youngster, who was elemental in making turning him from a goon to a feared gangster. The sequences that follow has Madhu tripping on guilt, revisiting his past and also sharing why the stain of using a boy’s hunger to commit a heinous crime would never wash away. We even get to see his wife asking Madhu to stop drinking alcohol – because that’s what he does every time he sees the boy. 

Also read: Prithviraj Sukumaran: Kaapa is a cinematic adaptation of Shankhumukhi, not a line-by-line depiction  

These scenes work, mostly because it shows a different side of Madhu, who is presented as a larger-than-life figure throughout the movie. But the disappointing part is that, apart from this sequence, you hardly ever get to know the man who chews the majority of the scenes in Kaapa, which relegates its stellar supporting cast such as Asif Ali, Anna Ben and Aparna Balamurali to minor characters.

Contrary to his previous directorial Kaduva, Shaji Kailas keeps the mood of Kaapa grim and even in scenes that are intended to play to the gallery, he holds back. Madhu’s dialogues – which sometimes seem more forced than what a goon would spew at the peak of his rage – are again ‘massy’ in a way, if it had been the ‘90s. But the character itself is so dark and unsentimental that you never side with him. This becomes the major impediment in a film because Madhu as a character drives the narrative and the audience is almost always disconnected with him. It would have been better if Asif Ali’s Anand, who is always wearing puzzled look on his face, would have been the audience’s perspective through and through, instead of the script starting off with him and then tagging mostly with Madhu.

Madhu’s flashback sequences, except for the one involving the boy, doesn’t quite plot his rise and only serves to connect the characters’ pasts. Shaji Kailas hits a meter from the first scene of the film and maintains this till the end, which is a tough aspect to do and this makes the movie watchable. Even the twist in the end is something that many would guess. So, Kaapa never quite hits a high point. That said, the writing is tight, even though the movie lacks the emotional heft required to string the audience through its characters’ journey. And that is a missed opportunity.

Though Kotta Madhu is a feared gangster, one does feel he is too refined in his ways, and that comes from how he is presented. Apart from Prithviraj, it’s Jagadish who makes a mark, in a role as his cohort named Jabbar. Dileesh Pothan’s arc, especially in the second half, makes you doubt whether your assumptions are right, but the makers never see it through. Aparna Balamurali and Anna Ben only get limited screentime in the film.

Jomon T John’s cinematography keep in tact the grim, sombre mood of the film throughout and Dawn Vincent’s music helps in stylishly presenting its (anti)hero.

Verdict: Prithviraj Sukumaran’s Kaapa is a decent watch, thanks to the actor’s performance. However, it does seem to be a missed opportunity because of the ample talent involved in the movie.

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