Kallan D’Souza review: The Soubin Shahir movie falls flat
It’s exhausting to forget the thief named D’Souza in the Dulquer Salmaan film Charlie. If truth be told, the introduction of Charlie and the first half of the film are propelled by this innocent thief persona, performed by Soubin Shahir. Kallan D’Souza, a uncommon spinoff in Malayalam cinema raised the curiosity of viewers as the film is according to the persona in Charlie. On the opposite hand, the film, directed by Jithu K Jayan and written by Sajeer Baba, doesn’t delve into the past of D’Souza nor does it investigate how he grew to became a thief. As a replace, the film revolves around a tussle between a noxious cop and an innocent thief. It also focuses on the thief’s relation with the noxious cop’s essential other. Soubin plays the titular goal of D’Souza who’s a factual at heart slight-time thief, whereas Dileesh Pothan plays a cunning, frigid-hearted police officer named Manoj and Surabhi Lakshmi plays the goal of Manoj’s essential other Asha.
The film begins when Manoj and his subordinates make a selection a essential quantity of hawala money. However, rapidly we realise that the seizure used to be no longer out of sincerity; as a replace Manoj desires the seized money for himself. D’Souza accidently enters a room the put Manoj discusses his understanding to rob the seized money, and this outcomes in a lengthy waddle racy the two. However D’Souza manages to interrupt out with the aid of a housewife. Right now D’Souza sees the identical lady in a clinic with a slight of 1 who can’t talk. D’Souza will get shut to the slight one and the girl, but rapidly he realises that lady is fully Asha, essential other of Manoj who’s looking to nab him. The film parallelly displays the teach of Asha beneath a merciless and touchy Manoj.
D’Souza and Asha rapidly design a bond between them which is something that’s no longer explored great in Malayalam cinema. Asha develops emotions for D’Souza as he affords her the care and consideration which she did no longer gain from Manoj. Asha insists that D’Souza call her title as a replace of ‘Chechi’ and their relation is no longer portrayed as romantic by the director. D’Souza, who’s confirmed as a person that doesn’t hold any family varied than a chum, finds like in Asha and her slight one. From Asha’s viewpoint, D’Souza turns into extra of an angel who comes to her rescue from a heartless Manoj.
Other than this relation between a thief and a cop’s essential other, the film doesn’t hold any taking part components. A Muslim persona, whose sad money received seized, is in the back of Manoj to assemble his misplaced money. This sub put is broken-down to suit into the climax of the film. There are no humour system, memorable moments or taking part components in the film varied than the curiosity to clutch whether or no longer Asha and her slight one gain a reduction from the hands of Manoj.
Soubin Shahir has executed justice to the persona of an innocent and adorable thief. On the opposite hand, it ought to be popular that there weren’t many performance oriented scenes for Soubin, pondering he is the protagonist. Surabhi portrays the goal of a essential other who’s consistently stressed by her husband with conviction. The National Award-winning actress has managed emotional scenes effectively, especially in circumstances the put Asha has to manipulate her emotional balance in front of her slight one even after getting crushed by Manoj diverse events. Dileesh’s persona Manoj can appeal to the abominate of viewers which is an success as an actor. He portrays the goal of a frigid-hearted cop who’s equally hateful in direction of his essential other with ease. Faded actor Vettukili Prakash as Asha’s father comes up with a memorable performance even in his short show veil time in the film. The comedy note by Hareesh Kanaran, who plays D’Souza’s buddy, doesn’t work in the film.
Just a few of the songs mute by Prashanth Karmma and Leo Tom are varied and participating, especially the title note. Arun Chalil’s cinematography goes effectively with the narrative creep of the film.