i, Nobody Movie Review:
It's disappointing, or rather disheartening, to see films that are promising enough to be game-changers succumb to the 'second half curse' that's been plaguing our mainstream cinema for a while now. i, Nobody is the latest entrant to this unfortunate club of films that take off to soaring heights only to come crashing down by the end. But on a positive note, this is not a film that runs out of ideas; it's pregnant with potential even when the wheels start coming off. It simply crumbles under the weight of its ambitions.
Director: Nisam Basheer
Cast: Prithviraj Sukumaran, Parvathy Thiruvothu, Hakim Shahjahan, Ashokan
The film starts off on a highly intriguing note, throwing us straight into a bank heist followed by a thrilling action sequence on a busy highway. Nisam Basheer means business right away. The action choreography, staging, camera angles and pulsating music work in tandem to create a rousing introduction. Rajeevan, a 'nobody', is an accidental witness to this heist, which essentially means the stage is set for the "an ordinary man in an extraordinary situation" template. Writer Sameer Abdul, however, doesn't stick to the template, layering it with family drama and social commentary.
Before he knows it, Rajeevan becomes a victim of public perception, misjudgment, and a media trial. He is constantly pestered by suspicious eyes, believing he's a "walking treasure." As a result, his already broken family life is thrown into further disarray. The nobody is eventually forced to react. The primary issue here is that it is hard to believe Prithviraj as a 'nobody', despite the actor trying his best. He displays unusual confidence and repeatedly overpowers attackers. His towering physique, cocky attitude, and, on top of everything, the ability to fearlessly take on goons (the number keeps increasing as the film progresses) make him anything but a nobody. Naturally, it becomes hard for us to emotionally invest in Rajeevan's helplessness, which is vital in such stories of ordinary protagonists clashing with oppressive systems.
i, Nobody is top-notch on the technical front, with Jakes Bejoy doing much of the heavy lifting. Much like Nisam's previous film Rorschach, where moody English songs were employed to set the tone, this film incorporates Hindi songs that lend a distinct flavour to its Thiruvananthapuram setting. Due credits to cinematographer Dinesh Purushothaman and editor Ramees MB, especially for the tastefully executed buildup towards the interval block, which is as funny as it is gripping. It's a telling example of writer Sameer lending a fresh spin to turn the most ordinary situations engaging.
However, the writing takes a big hit once the film attempts to broaden its scope. Rajeevan's relentless resistance against societal perception and his efforts to protect his family gradually pave the way for a larger commentary on systemic apathy, media sensationalism and political opportunism. The done-to-death 'food chain analogy' used to underline the survival-of-the-fittest theme comes across as repetitive and rather shallow. Suddenly, Rajevan and family become a statewide talking point, with even political foulplay involved. However, none of these ideas are developed convincingly.
While much of the film pivots around Rajeevan and the increasingly bizarre situations he lands in, some of which he himself digs, the narrative has a few other intriguing characters, like Hakim Shahjahan's Anas and Ashokan's Jacob. They aren't reduced to generic supporting characters, but have their own individual arcs. Hakkim is particularly impressive as a greedy policeman whose corrupt ways stem from his insecurities as a middle-class husband.
In a genre that often treats women as mere spectators, Parvathy's character here has a significant presence. Meera and Rajeevan are on the verge of separation, yet she is not ready to completely give up on him, even when some of his choices put their kids in trouble. Nisam also displays an admirable command over the craft in depicting their strained relationships and how the kids are affected by it without elaborate flashbacks or generic montages.
At one point, the usually unflustered Rajeevan admits that involving his children was a mistake. In retrospect, that also feels like the moment i, Nobody begins to lose sight of its own strengths. It suddenly becomes a different film altogether, trading raciness, urgency, tension, and excitement for broad social messaging that lacks the depth to justify its ambitions. By the end, the nobody ends up nowhere.
