The most unprecedented aspect of Thankam is its distinct look at gold riders. Shyam Pushkaran's screenplay meticulously approaches its key characters Muthu (Biju Menon), Kannan (Vineeth Sreenivasan), and Jayant Sakhalkar (Girish Kulkarni), pulling you into their realistically gritty world with ease. The proceedings are completely engaging (up until the climax), with Bijibal's score, Kiran Das' cuts, and Gautham Sankar's cinematography serving their purposes well. Little revelations lead to bigger ones, and there are facets to Kannan that we get to know in bits and pieces. I wish Aparna Balamurali's character (Kannan's wife) had more meat to add to the plot, but since revelations surrounding Kannan are gradual, her character appears under-written.
Muthu and Bejoy (a superb Vineeth Thattil) take on the audience perspective, eager to find answers and getting perplexed at how sophisticated things are, beyond what they can imagine. Their internal banter also keeps things a bit light, in an otherwise cynical setup. Girish Kulkarni is fantastic, and the language barriers involved when a team of cops from Maharashtra investigate the case of a missing Malayali in Tamil Nadu are poignantly presented. He also gets at least one unexpectedly massy scene where a change of tone and posture in a conversation with a senior Tamil cop gets the job done faster. Same goes for the "poda koppe!" at the end. The climax, while not weak from a writing perspective, comes across as a bit of a dampener as all hopes of a bigger, more shocking twist are dashed.
Muthu and Bejoy (a superb Vineeth Thattil) take on the audience perspective, eager to find answers and getting perplexed at how sophisticated things are, beyond what they can imagine. Their internal banter also keeps things a bit light, in an otherwise cynical setup. Girish Kulkarni is fantastic, and the language barriers involved when a team of cops from Maharashtra investigate the case of a missing Malayali in Tamil Nadu are poignantly presented. He also gets at least one unexpectedly massy scene where a change of tone and posture in a conversation with a senior Tamil cop gets the job done faster. Same goes for the "poda koppe!" at the end. The climax, while not weak from a writing perspective, comes across as a bit of a dampener as all hopes of a bigger, more shocking twist are dashed.
