Kalamkaval review: Mammootty’s slow-burner brilliance again
'Kalamkaval,' however, takes an entirely different path. It sheds many familiar thriller tropes— we are aware there is a villain on the loose and even of his identity -- that it sometimes risks slipping into monotony.
'Kalamkaval,' however, takes an entirely different path. It sheds many familiar thriller tropes— we are aware there is a villain on the loose and even of his identity -- that it sometimes risks slipping into monotony.
'Kalamkaval,' however, takes an entirely different path. It sheds many familiar thriller tropes— we are aware there is a villain on the loose and even of his identity -- that it sometimes risks slipping into monotony.
Few actors in Indian cinema wield the screen the way Mammootty does. And, his reign in Jithin K Jose’s debut film “Kalamkaval” confirms that the thespian’s hunger for risk and range remains undiminished. From the very first frame, the film stakes its claim as a brooding, slow-burn thriller rooted in the uneasy geography of the Kerala-Tamil Nadu border.
At its best, a thriller seduces through shadows, suggestions, and withheld truths. There should be the slow drip of paranoia, fear, and the constant ache of suspicion. Films like “Anjaam Pathiraa” did exactly that and lured audiences into a labyrinth of clues and doubts. Other films like “Memories” ventured further and probed the dark inner world of their perpetrators without ever granting them redemption.
“Kalamkaval” chooses a different route. From early on, the identity (or at least the nature) of the villain looms large. Some might find that stripping away the whodunnit veil risks flatness or monotony. But the film, to its credit, leans on performance rather than mystery. It succeeds therein.
Mammootty’s turn is quietly devastating. He embodies the film’s darkness not as a cartoonish boogeyman, but as a chilling, plausible presence. In a promotional teaser for the movie, a line like “killing a human gives the greatest pleasure” amply conveys that this is not a hero’s journey, but a descent. The menace in his smile and the calculated calm suggested a man who is as much a force of nature as an individual. He is unpredictable yet terrifyingly inevitable.
Opposite him stands Vinayakan and he is the determined cop chasing shadows. He is the counterweight of steadiness to Mammootty’s storm. The screenplay, co-written by Jithin K Jose and Jishnu Sreekumar, may dither a bit in the first act. As the narrative progresses, it tightens with intelligent scenes and rigorous tension. Now, the film begins to assert its shape.
That said, “Kalamkaval” is not flawless. It feels like the protagonists have relatively narrow arcs, like the cop seeking justice and the killer driven by compulsion. The flow looks one-dimensional, at times. Then, there is definitely a trade-off. It is this: clarity and focus come at the cost of psychological depth. Supporting performances, especially from some central women actors, occasionally pierce through. Sometimes, we feel that the stories behind them deserve more space.
Technically, the film is sturdy. Cinematography by Faisal Ali lays out the landscape with a tone of realism. The background score by Mujeeb Majeed amplifies suspense when needed and underpins moments of horror or dread without ever overwhelming them.
One should also acknowledge the film’s real-world resonance. The director has admitted that “Kalamkaval” draws inspiration from multiple real-life crimes but it remains a wholly fictional narrative. The truth here lies not in faithful retelling but in evoking a broader atmosphere of fear, uncertainty, and human fragility. In sum, “Kalamkaval” may not reconstruct the full complexity of a true-crime tale. But as a cinematic experience, it delivers a dark, measured, and unnerving output. For those willing to settle into its slow burn, it could prove one of the more haunting thrillers in Malayalam cinema this year.