Kannur has long been a hotbed of political violence in Kerala. The political violence in this Malabar district, ironically home to an ancient folk ritual called theyyam, which symbolises divinity in humanity, is closely intertwined with the class and caste dynamics of the region. The violence and murders in Kannur, carried out in the name of party and ideology, as well as the subsequent retaliations, have been the subject of multiple films in Mollywood over the past four decades. Tinu Pappachan's third film, Chaaver, also utilises this familiar theme to deliver a stylish action thriller. It follows the narrative of how innocent lives, especially those of marginalised sections, become inadvertently entangled in the violence perpetrated by politicians, as seen in films like Eeda, which also used Kannur politics as its central theme. What sets Chaaver apart is the director's decision to treat it in a highly stylised manner while exploring theyyam as a narrative device to convey the futility of violence.
The term "chaaver" refers to those who are deployed on the frontlines, or martyrs. The film revolves around four "party workers" who come together from different places to carry out a murder assigned by a party leader. The film begins with the group brutally killing a 24-year-old youth. Ashokan (played by Kunchacko Boban), a hardline party member, leads the group. During the operation, Ashokan sustains severe injuries. Unable to seek medical attention at a hospital without raising suspicions, the group turns to a young medical student (Arjun Ashokan) for help. Without fully comprehending the predicament, the medical student offers his assistance. The film then portrays the group's journey for survival, leading them to realise how they have become pawns in the hands of powerful leaders.
The film does not explicitly mention the political party to which the murderers belong, but there are enough instances in the film to indicate the party or ideology being referred to. The film strongly conveys the idea that the "party" is controlled by inhumane and powerful men who exploit the poor and marginalised for their vested interests. It wouldn't be surprising if one interprets Chaaver as writer Joy Mathew's attempt to convey his personal politics (and criticism of a particular party) through cinema.
However, one issue this reviewer noted was the predictability of the plot in the third act. Also, the dialogues, also written by Mathew, were subpar at certain points. Inconsistencies in the Kannur slang, particularly in Ashokan's delivery, were also evident.
Overall, Chaaver excels on the technical front. Pappachan is a filmmaker who has already demonstrated his prowess in crafting films that may lack substance but not style. Compared to his last two movies, Swathanthryam Ardharathriyil and Ajagajantharam, Chaaver boasts a stronger plot with standout moments. Pappachan, along with cinematographer Jinto George, capitalises on these moments, elevating them with their superior visual sense. The film's first half is tightly edited and visually captivating, offering a one-of-a-kind interval block.
However, in the second half, the movie undergoes a shift - from a political thriller to a survival thriller. It struggles to maintain its pace. An extended gunfight scene close to the climax hinders the film's ability to provide a satisfying conclusion that resonates with the audience. Justin Varghese's music remains captivating as ever, but in the mentioned gunfight sequence, it becomes monotonous and grating.
The film marks Pappachan's third collaboration with Antony Varghese (Pepe). Despite having limited number of scenes, his character plays a crucial role in the overall narrative. Boban delivers a commendable performance as a devoted party worker willing to go to any lengths for the "party". Manoj K.U. and Sajin Gopu also portray their roles effectively. However, a loosely constructed third act becomes the film's primary drawback.
Pappachan, a filmmaker who has assisted Lijo Jose Pellissery, naturally incorporates elements reminiscent of the latter's films into his own work. Interestingly, certain aspects from movies like Jallikkettu and Churuli can be observed being repurposed by Pappachan in Chaaver.
A tightly woven and more engaging third act would have taken Chaaver to the next level. It's highly probable that the film may face criticism from political quarters and supporters, especially upon its release on OTT platforms.
Film: Chaaver
Language: Malayalam
Director: Tinu Pappachan
Cast: Kunchacko Boban, Arjun Ashokan, Antony Varghese and others
Rating: 3/5
