Drishyam 3 Movie Review:
What makes Georgekutty a fascinating character and a fan favourite? He's an ordinary man with only a fourth-standard education, employing all his wits to outsmart the state's entire police force for years with one objective — protecting his family at any cost. This 'anything for family' thread continues to be the backbone of the Drishyam franchise. The first two parts saw Georgekutty operating at the peak of his powers — devising ingenious plans to build an alibi, waiting patiently for years with backup strategies, and constantly anticipating what would come next. But at what cost?
Like Murali Gopy's character says in the climax of Drishyam 2, "Isn't this constant vigil to resist every new threat his biggest possible punishment?" Add to that the remorse of having committed a crime and thereby destroying another family. Beyond the 'classic criminal' Georgekutty, the focus this time is more on a man consumed by guilt and repentance. That's why we see him turning to God, praying and ‘silently’ confessing alone in a church — something we didn't see in the other two films, even when he was repeatedly cornered.
Director: Jeethu Joseph
Cast: Mohanlal, Meena, Ansiba Hassan, Esther Anil, Siddique, Murali Gopy
Years pass by, and though it seems like Georgekutty and family have made peace with the past, their scars are yet to heal completely. The current priority is to find a suitable alliance for the elder daughter, Anju (Ansiba), but given their history, it's not easy. Proposals getting rejected repeatedly puts them under severe stress. In any other film, one would have questioned this obsession with getting the girl married off. Is that her only future? Definitely not.
If you remember, a major criticism against Drishyam was the family's obsession with ‘saving honour’ after what was essentially an accidental killing during self-defence. Many saw it as the reflection of a deeply conservative social mindset, but it can also be argued as a realistic portrayal of rural middle-class Indian society, where fear of social stigma, harassment, and victim-blaming can feel more terrifying than the legal process itself. Even after all these years, Georgekutty and Rani's (Meena) worldview hasn't broadened enough, but the family finds a new rational voice in the younger daughter, Anu (Esther Anil). While the other two women in the family get a real raw deal in terms of character development, Anu's arc, though limited, is comparatively better fleshed out.
This is a recurring problem with the Drishyam franchise. Everything revolves around Georgekutty, who has to don the saviour's garb each time. Even in Drishyam 3, the other family members are almost oblivious to the looming threats around them until the very end. Yes, Georgekutty ensures no harm reaches them, but that also means other characters are stripped off their agency, especially Rani, who's still stuck in the 'bickering wife' phase. Perhaps her only serious and meaningful suggestion comes when she asks Georgekutty not to handhold the girls anymore and let them deal with their demons on their own. It is also strange that he actually goes on to make a film that would rekindle his family’s trauma, while most would prefer ‘burying it’ once and for all. Or did he want to ensure the family is financially secure before something happens?
While he might have overlooked some of the other characters, Jeethu Joseph doesn't ever loosen the grip on Georgekutty, his trump card. Over the years, Georgekutty’s guard has clearly lowered, but he still doesn't take anyone or anything for granted. That's why it's compelling to see him grope in the dark when unknown opponents start coming for him. He feels vulnerable, helpless and betrayed. This is also the first film where he loses his cool, and you can gradually see the character's descent from being morally grey to bring ruthless. Very early in the film, his voice cracks when he tells his advocate, "I'm afraid my kids would start seeing me as a criminal." And this concern has genuine reason to exist.
Georgekutty is a tough nut to crack, and Mohnalal must be among the very few to have gotten a fair understanding of him. Much like in the previous films, the veteran is right at the top of his game, delivering a controlled performance that doesn't let out anything about the character's true intentions. It is also perhaps why you keep waiting for his one big moment, like the epic police station walk or the courtroom scene in D2. But it never quite arrives, much like Veena Nandakumar’s character after a point.
Drishyam 3 brings back some familiar characters, who are unfortunately reduced to tropes that serve some purpose, but makes you think if it was worth it. Jeethu, however, manages to make up by giving a fresh spin to Siddique's character, Prabhakar. This turn is logical, convincingly written, and well performed. So we now have two fathers on opposite ends of the spectrum, trying to figure out how to get the better of each other by whatever means possible.
Surprisingly, the elaborate plan devised to trap the family, with a psychological turn, lacks conviction. In a franchise that takes pride in its intelligent writing with minimal loopholes, the whole 'sexual aversion' plot point felt too weak.
So what makes Drishyam a franchise people love to keep revisiting? The family drama and emotional layers are crucial, but it thrives largely in the clever twists and the high it elicits. Drishyam 3 lacks sorely on that note, with very few moments that would make people go, 'Wow, how on Earth did Georgekutty have that covered?' You can't blame the viewer because that's how the franchise and its numerous iterations have trained its audience for all these years. But to be fair, Jeethu deserves a huge pat on his back for bravely opting for a profound ending, sticking true to Georgekutty’s beautifully evolving arc. Only that the real problem lies in how it is arrived at. Cons of reverse engineering, perhaps.
