Often criticised for being repetitive, Basil is in great form here. His Santhosh initially appears composed and calculated, but we gradually see his different shades getting exposed during the course of the investigation. Understanding the complexities of the character, Basil delivers a highly effective performance, while also retaining all his trademark touches. Soubin also plays his part superbly, internalising all the pain, humiliation, and insecurities of the character. Shivajith’s character in this film has the nickname Komban (tusker) and his fierce performance does total justice to it. Chandini Sreedharan, Chemban Vinod, and Niyas Aboobacker are also impressive with their earnest performances.
Shyju Khalid’s cinematography is easily among the standout features of Pravinkoodu Shappu. His mastery is particularly evident in how he seamlessly captures lengthy shots. Within the cramped spaces of the toddy shop, his camera moves around like a fly on the wall. A couple of bike sequences, especially the chase with a school bus, are also brilliantly shot. Vishnu Govind’s atmospheric sound design also plays a significant part in holding our interest in this world. Every time the scene shifts to the interiors of the toddy shop, we hear faint sounds of doves cooing, glasses clinking, or a boiling curry in the background. However, the music, supposed to aid in tension-building, is placed extremely loud. It seems like an intentional choice to fill the writing voids. The film’s non-linear narration also offers plenty of room for editor Shafique Mohamed Ali to play around with. While his hyper-stylised editing techniques are a treat to watch initially, especially his match cuts, it comes across as gimmicky after a point.
As a whole, Pravinkoodu Shappu is a fairly engaging film with ample thrills and some hilarious dark humour. But these elements don’t come together in the right proportions to create the rousing experience promised by the film.
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