Serigala, directed by Shaji Aziz and drawn from the imagination of GR Indugopan, one of the most talented narrators in contemporary Malayalam literature, has quite a several factors to make the play riveting the mind. Like Love and Irul before him, the house becomes a place for intense character play. For much of his work, the three main characters have us in a kind of vicious vibe to the point where the confusing climax destroys everything. Luckily, Wolf isn’t Irul (no casting issues like the latter), but both films have a shaky third act that takes away everything that came before.
Based on the Indugopan story:
Chennai, the Wolf, starts with Sanjay (Arjun Ashokan) to meet his future Asha (Samyukta Menon), hoping to surprise him. The first half belongs to all Arjun and Samyukta, effectively providing a moment of attention at a time. It quickly became quite apparent that these two were not coincidences in heaven. He doesn’t want him there for valid reasons from his point of view – and of course, we are. Every minute he spends at his house makes us even more uncomfortable.
Asha has a Conservative mother who isn’t home at the moment. And her daughter worries that Sanjay’s presence at this hour will turn her into gossip. (The suspicious mother sounds like the male version of another Indugopan creation. Amminipilla, from her brilliant story, The Amminipilla Vettu Case). Furthermore, Asha believed that Sanjay and Sanjay’s rude behaviour. Even to his close friends – was reason enough not to want him as her partner.
She doubted that she would spend the rest of her life with him. She grew more irritable and desperate to make sure she wasn’t like that after they got married. But we also understand that Asha is hiding something from us. To make matters worse, the prime minister announced the closure for the evening. Her mother won’t be back in time, and since Sanjay’s house is a few hours away. The police officers (Shine Tom Chacko, Jaffer Idukki) forbid her from travelling in front of her house.
The film becomes even more intense when a third character, Joe (Irshad), comes into the film;
But our fun only lasted up to a point. In an interview with us, Shaji Aziz called the third character a “surprise”, and therefore I will not explain who this man is and why he is in the story. However, I can say that Shaji and Indugopan. It used to uncover the intricacies of the dynamics of men and women. The patriarchal thinking ingrained in Indian men, women’s agency in their personal choices. And how one expresses the “image”. on social media, Not necessarily who they are. Even though we understood the characteristics of Sanjay’s character, we later discovered that the other two characters weren’t the first to make us believe.
For the most part, the film gives us the effect of seeing a strictly constructed work supported by appropriate staging and camera movements. It’s great to see how the three characters slowly reveal their true selves. That interaction reminds me of Mike Nichols’ film Closer. However, wolves have one problem: inconsistencies in character development. The main problem here is the inconsistent behaviour of the characters – none of them remains true to their rainbow. Sometimes they exhibit behaviours that make one wonder if someone is trying to be three different people. They seem unsure, but they want to make you believe.
The climax of the film:
When the film ends, the three characters go through an unconvincing character transformation, leaving you feeling cheated. (The climax reminds me of the popular Shaji Kailas film by Ranjit 1.You may remember the title after watching Wolf.) After all this long, colourful, and sometimes insightful dialogue, you wonder why some characters choose to break the other route in the end. And I’m still trying to understand the role of Shine Tom Chacko and Jaffer Idukki as this cop. Do they need to? Maybe Wolf has the potential to be another debatable film, like Ishq or even The Great Indian Kitchen, but this ending.