Theatre: The Myth of Reality Movie Review:

Director Sajin Baabu’s Theatre: The Myth of Reality starts with the visual of a woman (Rima Kallingal) climbing a coconut tree, as seen through the small screen of a vlogger’s smartphone. Two hours later, how you wish she had stayed there throughout the film’s runtime. Like everything else in the film, the coconut tree is a metaphor for a woman who loses her way in a world of myth and superstition and whose life functions like clockwork. The film has an interesting premise that explores the perils of social conditioning, but it is plagued by a haphazard screenplay that tries to pack too many elements. There is politics, faith and religion, the good and bad of social media, and a bit of history. The two-hour runtime does not suffice for a story full of so many ideas.

Speaking of story, Theatre revolves around Meera (Rima) and her mother (Sarasa Balussery), who live on a secluded island without any access to basic necessities. It is not any other island but rather a hotbed of folklore and myth. The family holds a sacred grove of snakes central to their traditions and does everything to appease the deities, whose significance dates back to their forefathers. When a mysterious insect bites Meera, she develops a dangerous infection, necessitating expensive treatment for her and an antidote that needs importing. Meera’s mother believes that it is a curse by the snake gods, as do some of the villagers.

Director: Sajin Baabu

Cast: Rima Kallingal, Sarasa Balussery, Dain Davis

The initial stretch showing how much Meera and her mother believe in their family’s traditions is key to the central events of the film and the mythical climax that follows. However, the biggest drawback of Theatre: The Myth of Reality is the laborious middle stretch, showing how a more evolved part of society contributes to Meera’s treatment. The ‘Save Meera Campaign’ goes on and on to the point that it drives both the protagonists and the audience insane. The focus keeps shifting from the medical professionals’ desperate attempt to save the woman and the vlogger’s (Dain Davis) efforts to accrue the exorbitant amount required for her treatment. In between, Sajin also shows us footage of television channels asking Meera’s villagers about her and her once-privileged family. It does not help that Sajin has cast an actor more known for his comic timing for a role that requires a bit more gravitas. Dain Davis has a likable presence as vlogger Manoj, but he struggles to emote at one of the film’s key moments. As a result, the film never really allows you to form any sort of emotional connection with any of the main characters or guides us to confront its harsh truths. It is perhaps necessary to keep the two protagonists at a distance for the story to work, but the film’s failure to allow us better access to their inner lives significantly undermines its impact.

The premise of Theatre: The Myth of Reality requires a more intimate treatment, something in line with a film such as Akam. However, the middle stretch that mistakes the film for an organ donation procedural such as Traffic spoils the potential. The performances should have been more internalised than the externalised acts of angst and frustration we get to see from the main characters. Despite the actors’ earnest attempts, the film never allows us to get into their characters’ headspace. This is a pity, especially for a film that leaves its big, bold ideas up to the audience’s interpretation. Like the characters themselves, unfortunately, we, too, never find our way back from the metaphorical island.