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Neru review: Jeethu Joseph and Mohanlal are back with a satisfying courtroom drama

Ten years ago, Jeethu Joseph made an iconic thriller titled Drishyam (2013). Neru, too, is about a young woman who is assaulted in her own home. But there’s a significant shift in perspective from Drishyam to Neru.

10 years of Drishyam: How a seemingly low-key family drama became one of the most influential, impactful Indian films in recent times

10 years, 6 remakes (with another two in the pipeline), 1 sequel and 3 remakes to the sequel later, Jeethu Joseph's Mohanlal-starrer Drishyam continues to generate discussions, primarily focusing on its subsequent third part, as well as its script and the problematic core.

Drishyam 2 : Mohanlal s Malyalam Film is a Solid, Satisfying Sequel

Director: Jeethu Joseph Rating: Three stars Where’s the body? No body, no case. That was the point where we bade farewell to prime suspect Georgekutty (Mohanlal) in ‘Drishyam’, Jeethu Joseph’s smash-hit 2013 murder mystery. In the sequel, which opens six years later, we reunite with Georgekutty, now the prosperous owner of a cinema theatre, his wife Rani (Meena), and daughters Anju (Ansiba Hassan) and Anu (Esther Anil). There are visible changes in their lifestyle. Georgekutty drives a fancy car, the younger daughter goes to an expensive school, and they all look a little sleeker. But the residue of that death lingers over them, like miasma, lifting and settling, but never going away entirely. Can you kill someone and get away with it? Does your moral centre shift? How do you live with yourself if you have blood on your hands?

Drishyam 2 Teases, Confounds and Eludes, but Above All, Keeps the Audience Riveted

Drishyam 2 Teases, Confounds and Eludes, but Above All, Keeps the Audience Riveted The sequel is a more sober film, and it works well mainly because of Mohanlal’s gripping performance. A still from Drishyam 2 . Photo: Instagram/mohanlal Cinema is the beating heart and the bleeding soul of the Drishyam universe. The series’ hero, Georgekutty (Mohanlal), is a school dropout. People consider him unsophisticated and naïve — the kind of simpleton who elicits pity. George may not have gone to school, but he went to the movies. An owner of a cable TV business, George, a committed cinephile, learnt from the best filmmakers: how to tell a story, convince the audiences, deceive them, and — when the story’s seemingly over — deceive them again.

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