The strong head of the Kottayam-based family is rich cut down by strokes. How does it impact the pain of Kuture PK (Sunny PN)? Out into the homestead make the most of Joji? The adult man who was traveled by a father. Who dominated scrambled to understand their world. Which until now became a one-way ticket execution of orders exposed and received. Frustration, anger, and fear of making an explosive situation. Must give something, and of course, that happens.
Joji, based on Macbeth, doesn’t throw a moment into getting into the story of the story.
The old Patriarch tower was like a male in his sons, Jomon, who was heavy (Babu Raj). Who most resembled his father in the building; Stocky Jaison (Joji Mundakayam). Who is obedient, devoted; And Joji (Fauman Fauman), which is a bit (Fauman) stubbornly. Grandson Poppy (Alister Alex) wanders about aimlessly. In this men’s universe, a single woman, attentively (Unnimaya Prasad), folding the fort. Collapsing under the upheaval caused by the condition of older men. Who are now critical-stable. How long will he survive?
The slowdown of the tension and skilled fear was built-in writing Ace Syam Pushkaran. The last sightseeing was a beautiful Kumbalingi night. Pushkaran, Director of Dileesh Pothhan (Maheshinte Pratikaaram, Thontimuthalam Driksakshym), and the Farman Fauman is the old collaborator. The subtlety in their shared arrival is proof, if it is needed, the story is king, and all that flows from a good scenario.
The high prevalence of alcoholism, a severe problem in Kerala, appears in the condition of Constant Jomon’s belligerent inebriations. Jaison hobbled with his habit of being a pleaser. And Joji, who felt the whip his father insulted the deepest, down the road where there was no return. Jincy, who was very desperate to be free of toxicity shackles around it. Everyone was responsible for some tragedies that followed.
Every character is carefully engraved.
Grand Meshing Crime and Shakespeare’s punishment in Macbeth has spawned many films and stage versions in many languages worldwide. Joji took a particular theme beautifully (both writers and directors have included the most innovative crime and punishment in their previous work). When the film loses the grip, the less, it is in the way of sliding on guilt which is a part-and-package of murder and rolls towards the end that feels pat. I want to see more about how ‘damned points’ will deepen and how everyone, especially Joji, will experience: Coda’s climax feels a little hasty.
It’s also enjoyable to see a rich atmosphere where everything works according to plan and shows all places. Sunny’s empty glare is very inductive; Love Raj for his father, regardless of everything, floats like a thick cream; Etial Prasad revealed how burden it was to become the wife of a man who could not defend himself.
Fauman makes his weak and ridiculous Joji, whose cunning is not enough to save him from his sins. The newly arrived parish priest (Joseph) who led the older man’s funeral felt anxiety at home. Which began to empty light when we left. Do sinners get creamy desserts? Or is he just a victim of his situation? And who is the victim? The man killed, or the man who killed? This is the storyteller who knows their craft, and they know not to spoon us: we, viewers, to decide.