One of Midhun Manuel Thomas' biggest claims in the promo interviews for Ozler is that it's ENTIRELY different from his earlier serial-killer thriller Anjaam Paathira (which I moderately liked except for certain screenplay elements), though I can't believe that's the case. Both films feel cut from the same cloth; one's more contemporary and engaging, while the other tackles it in an old-school, high-on-sentiment manner. Ozler begins intriguingly, and quite early on, it exhibits shades of the character study of a hardened cop who suffers from a personal tragedy. As a result, he is said to be an insomniac and aging prematurely, and this is showcased to neat effect by Jayaram. Now that I think of it, both Anjaam Paathira and Abraham Ozler have scenes where the protagonist visits a cold-blooded killer in prison, but for different reasons. The packaging is different indeed. For instance, the hacking + CCTV bits + haunting score from Anjaam Paathira are replaced by medical terms + hospital corridors + a procedural-themed score.
But the protagonist's texturing seems to have been conveniently forgotten post the first act, as he begins investigating a new serial-killing case. Nonetheless, the proceedings remain engaging since Midhun gives it his usual thriller-seasoning, yet I wish Ozler's weaknesses (and strengths) had a greater role to play in the script. Composer Midhun Mukundan (another Midhun) renders a score that's exciting in parts. The score definitely makes certain scenes more riveting, but in certain others, it feels plain and forgettable - overall, a mixed bag. The title and end-credits tracks are superb.
Now, the special appearance by Mammootty in the second half (not a spoiler anymore!), while initially eliciting a goosebump moment, ends up falling into a pit full of revenge-drama clichés. The role doesn't require Mammootty's presence or star power, however, you can sense the film's ECG graph momentarily spiking when he shows up. It's obviously a nice gesture on the thespian's part for his longtime pal Jayaram, but the character suffers from generic treatment throughout. The flashback portions are drawn-out and messy even if the aesthetics or the performances do not let you down. Modern-thriller writers (MMT, Jeethu Joseph, and the rest) also need to pay more attention to the dialogues. In several scenes, dialogues are written and performed (mostly by supporting actors) in a stagey manner. The casting also feels a bit all over the place, with the ages of certain characters not matching appropriately between past and present. Among the lot, Jagadish is one actor that remains consistently good.
Ozler finishes up on a comparatively high note (and with inherent hints of a sequel), and maybe that's one reason I didn't instantly feel like it had few redeeming qualities. Theni Eswar's cinematography is fitting for a drama-thriller of this kind.
But the protagonist's texturing seems to have been conveniently forgotten post the first act, as he begins investigating a new serial-killing case. Nonetheless, the proceedings remain engaging since Midhun gives it his usual thriller-seasoning, yet I wish Ozler's weaknesses (and strengths) had a greater role to play in the script. Composer Midhun Mukundan (another Midhun) renders a score that's exciting in parts. The score definitely makes certain scenes more riveting, but in certain others, it feels plain and forgettable - overall, a mixed bag. The title and end-credits tracks are superb.
Now, the special appearance by Mammootty in the second half (not a spoiler anymore!), while initially eliciting a goosebump moment, ends up falling into a pit full of revenge-drama clichés. The role doesn't require Mammootty's presence or star power, however, you can sense the film's ECG graph momentarily spiking when he shows up. It's obviously a nice gesture on the thespian's part for his longtime pal Jayaram, but the character suffers from generic treatment throughout. The flashback portions are drawn-out and messy even if the aesthetics or the performances do not let you down. Modern-thriller writers (MMT, Jeethu Joseph, and the rest) also need to pay more attention to the dialogues. In several scenes, dialogues are written and performed (mostly by supporting actors) in a stagey manner. The casting also feels a bit all over the place, with the ages of certain characters not matching appropriately between past and present. Among the lot, Jagadish is one actor that remains consistently good.
Ozler finishes up on a comparatively high note (and with inherent hints of a sequel), and maybe that's one reason I didn't instantly feel like it had few redeeming qualities. Theni Eswar's cinematography is fitting for a drama-thriller of this kind.
