DrishyaKannada (U) ¬¬¬
Director: P Vasu
Cast: Ravichandran, Navya Nair, Achyutkumar and others
A few months after release in 2013, Malayalam film Drishyam caught the imagination of audience across languages, raking in handsome profits. That filmmakers, adept at “adapting” remakes would pounce on it was certain, given that the story of Drishyam has universal appeal.
Now, the Kannada remake is out, while the Telugu version is getting made. And unlike Porki, Drishya doesn’t disappoint the audience.
Outlining the story in a line as a father’s struggle to cover up a murder in his house, thereby his honour and peace is easy, but insufficient.
One of the rare examples of remakes truly connecting with local viewers, the real hero of Drishya is its story (Jeethu Joseph). Here, the family is so normal, so commonplace that it is but natural to take it for granted—like most of the values and institutions they foster today.
Far removed from the vagaries of “City” life, yet not completely untouched, the Ponnappa family goes about its daily business. Just when the father has agreed to finally buy a brand new Maruti car, trouble comes unlooked for.
The IGP’s son arrives, looking for Ponnappa’s daughter, whose bathing is “captured” in his phone. To delete the clip, she has to yield to him. One thing leads to another and the “intruder” is killed and buried in the family garden.
But the fourth-grade literate Ponnappa knows his life, and family, will never be the same, what with constable Suryaprakash bearing a grudge against him...
It’s refreshing to see Ravichandran playing Rajendra Ponnappa, the enterprising and hard-working father. There are no hang-ups and no goof-ups either. Initially being himself, Ravi slowly eases into the character—so much so that when he gets beaten up by the constable, it is hard not to wonder why he doesn’t hit back, in true filmy style.
Navya Nair and the kids are good, the former an able accomplice in Ravi’s enterprise. M S Ramesh’s dialogues do their job while Madhu Neelakantan’s camera and Suresh Urs’ editing complement.
Drishya is another film which doesn’t require music — Ilayaraja’s music is unobtrusive and well blended. Prabhu looks very out of place. Yet, the scene where the pit is dug and a discovery is made — his expression is priceless. Suchendra Prasad, Srinivasamurthy, Suresh Mangalore, Sadhu Kokila, Sharapanjara Shivaram and even Dayal fit their roles well.
But it is Achyutkumar who wins the contest of best acting in this film hands down as the corrupt constable, keeping an eye on Ponnappa.
Families need not complain of lack of entertainment this weekend. Drishya is here.