Oru Kattil Oru Muri Review: A Disjointed Drama That Struggles to Stay Engaging

Shanavas K Bavakkutty’s latest offering, Oru Kattil Oru Muri (OKOM), was expected to deliver a compelling drama, but unfortunately, it falters in many ways. The film attempts to weave multiple storylines together, centring around a bed and its three residents. However, the scattered plot, sluggish pacing, and weak character development result in an underwhelming cinematic experience. Let’s dive deeper into the highs and lows of this film and see where it succeeds and where it falls short.

Plot Overview: Two Stories, One Bed

The film opens with Rukmangadhan (played by Hakkim Shahjahan), who finds himself in a tight spot, pursued by thugs after a failed business venture. The movie doesn’t waste time throwing him into dangerous encounters with these relentless pursuers. While Rukmangadhan narrowly escapes on several occasions, the tension never fully builds, leaving the audience disengaged.

We then meet Akkamma (Poornima Indrajith), also known as Tripurasundari, the original owner of the bed that connects the characters. Akkamma is a Tamil-speaking woman who still holds onto the memories of her estranged husband. Her connection to the bed is deeply symbolic, as it reminds her of the love she once shared with her husband. Sadly, despite these potentially emotional moments, the film fails to create a meaningful bond between the audience and the characters. The script merely scratches the surface of their relationships, leaving the viewer craving depth.

Finally, we are introduced to Madhumiya (Priyamvada Krishnan), a young woman in her twenties who rents a room from Akkamma while she searches for employment. The film touches on her fractured relationship with her family, but, once again, the exploration feels half-hearted and lacks emotional impact.

A Confused Storyline That Lacks Focus

One of the biggest flaws of Oru Kattil Oru Muri is its inability to maintain a coherent and engaging storyline. The film jumps from one subplot to another, leaving the audience struggling to keep up. While Rukmangadhan’s escapades as a ride-hailing driver could have been an interesting narrative, the film fails to develop his character or provide meaningful context to his interactions.

For instance, Rukmangadhan encounters various passengers, including an elderly couple stranded outside their locked house and a woman who seems to be involved in a relationship scam. These scenes don’t add to the overall plot or character arcs, making them feel like mere distractions rather than essential components of the film. If the movie had focused on fleshing out these moments and connecting them more meaningfully to the central story, it could have elevated the viewing experience.

Weak Character Development and Disjointed Subplots

While the film attempts to juggle multiple characters, it falters in delivering compelling character development. Rukmangadhan, who starts as the film’s protagonist, quickly becomes one-dimensional. His struggles as a debt-ridden cab driver fail to evoke empathy, primarily because the script doesn’t dig deep enough into his motivations or backstory.

Akkamma’s character, while initially intriguing, also suffers from lacklustre development. Her attachment to the bed, which symbolizes her connection to her husband, is a compelling theme. However, the film doesn’t give her enough screen time or dialogue to fully explore the emotional weight of her situation. Instead, Akkamma’s endless musings about her lost love become repetitive, failing to create the emotional resonance that could have carried the film.

Madhumiya, the tenant, is equally underdeveloped. The strained relationship with her father is touched upon briefly, but the film never delves into the root of their conflict. As a result, her character feels more like a plot device rather than a fully fleshed-out individual with real emotions and struggles.

A Scattershot Screenplay That Never Fully Connects

One of the most frustrating aspects of Oru Kattil Oru Muri is its fragmented screenplay. The film feels like a collection of unrelated scenes stitched together, lacking a cohesive narrative thread to tie everything together. Throughout the movie, the audience is left waiting for these seemingly random subplots to converge meaningfully, but that payoff never arrives.

For example, Rukmangadhan’s encounters with random passengers and his run-ins with thugs appear completely disconnected from the central storyline. While these scenes could have provided insight into his character or driven the plot forward, they end up feeling like unnecessary filler.

Even the film’s climax, which should have provided some resolution, falls flat. The buildup to the final reveal is convoluted and fails to tie together the various subplots in a satisfying way. Instead, the film meanders towards a conclusion that leaves the audience more confused than entertained.

Strong Performances Hampered by Poor Dialogue

Despite its many shortcomings, Oru Kattil Oru Muri does boast some commendable performances. Poornima Indrajith, as Akkamma, brings grace and sincerity to her role. She manages to navigate the stiff dialogue with skill, making her character’s pain feel somewhat palpable, even when the script doesn’t give her much to work with.

Hakkim Shahjahan, playing Rukmangadhan, does his best to portray a man weighed down by debt and misfortune. However, the dialogue often feels forced and unnatural, detracting from the authenticity of his performance. Likewise, Priyamvada Krishnan’s portrayal of Madhumiya has potential, but the lack of depth in her character prevents her from fully connecting with the audience.

Cinematography and Music: Aesthetic Bright Spots

Where the film falters in storytelling, it does shine in some technical aspects. Eldhose George’s cinematography is one of the few redeeming qualities of the movie. He masterfully uses tight framing within the confines of the small spaces, making the visuals feel claustrophobic in a way that reflects the emotional entrapment of the characters.

The background score by Varkey is subtle and appropriate for the tone of the film. The song “Nenjile,” composed by Ankit Menon, stands out with its heartfelt arrangement, adding a layer of emotional depth that the script sorely lacks. The music often compensates for the film’s more sluggish moments, creating a soothing atmosphere that contrasts with the chaotic narrative.

What Could Have Been: Missed Opportunities

Ultimately, Oru Kattil Oru Muri is a film that had the potential to tell a meaningful story about love, loss, and forgiveness. But instead of focusing on its central themes, the film gets bogged down by extraneous subplots and unnecessary distractions. If the screenplay had zeroed in on the emotional core of its characters and streamlined its narrative, it could have delivered a much more impactful experience.

By cutting down on the disjointed side plots and spending more time developing its key characters, Oru Kattil Oru Muri could have been a poignant exploration of human relationships. Unfortunately, it falls short, leaving viewers with a drama that feels outdated and uninspired.

Final Thoughts: A Missed Opportunity

With a scattered screenplay, underdeveloped characters, and disjointed plotlines, Oru Kattil Oru Muri struggles to find its footing. Despite some strong performances and impressive cinematography, the film ultimately fails to engage its audience. While Shanavas K Bavakkutty’s previous works like Kismat and Thottappan showcased his talent for storytelling, Oru Kattil Oru Muri feels like a step backward.

The film’s outdated style and sluggish pacing make it difficult to recommend. It’s a film that leaves you waiting for a moment of brilliance that never arrives. For those hoping for a return to form from Bavakkutty, Oru Kattil Oru Muri is a disappointing entry that fails to deliver on its potential.