Iratta (2023) by Rohit M. G. Krishnan Film Review

“Iratta” is a 2023 Malayalam-language crime thriller written and directed by Rohit M. G. Krishnan, marking his feature directorial debut. Headlined by Joju George in a demanding dual role, alongside Anjali, Arya Salim and Srikant Murali, the movie quickly emerged as one of the most talked-about Malayalam releases of the year. Released in Kerala on 3 February 2023, it expanded outside the state on 17 February before making its digital premiere on Netflix on 3 March, significantly broadening its audience and cementing its status as a streaming success. Follow Our Tribute to Malayalam Cinema by Clicking in the link Below “Iratta” opens with the shocking death of Assistant Sub-Inspector Vinod Kumar inside the Vagamon police station during duty hours. The investigation initially points toward foul play, with three immediate suspects among his colleagues, ASI John, CPO Bineesh and SCPO Sandeep, all of whom harbored resentment toward Vinod. Through their individual testimonies, a troubling portrait of Vinod emerges as that of a violent, alcoholic and morally corrupt officer. Meanwhile, his estranged twin brother, Deputy Superintendent of Police Pramod, a recovered alcoholic separated from his wife Sreeja and daughter Swetha, is reluctantly drawn into the investigation despite internal suspicions surrounding his fractured relationship with Vinod. As Pramod digs deeper, childhood trauma resurfaces. The twins grew up under an abusive and unfaithful father whose brutality split the family apart, leaving Vinod to endure sustained violence while Pramod stayed with their mother. Their father’s eventual murder at the hands of enraged locals marked the beginning of two divergent paths within the same profession, shaping not only their careers but also their psychological makeup. Rohit M. G. Krishnan has come up with a very ambitious narrative that unfolds across a number of axes. The first is the police procedural element, revolving around the whodunnit aspect and generating soaring tension, particularly since the culprit appears to be among the police officers themselves. The presence of the twin brother, who is also a policeman, adds further intrigue and essentially carries the story from beginning to end. At the same time, this dynamic introduces a second axis, that of the family drama, which unfolds through multiple timelines as the story of a deeply problematic household gradually comes to the fore. This aspect, although quite entertaining as a narrative device, occasionally goes too far, particularly in the depiction of the father, who emerges as a thoroughly despicable villain with virtually no redeeming qualities. The beatings, the sexual violence and the extent to which his actions influence and scar his children sometimes border on the illogical. As a result, the approach occasionally drifts into melodramatic territory. Nevertheless, the commentary on toxic masculinity, patriarchy, inherited guilt, trauma and the cycle of violence is communicated quite eloquently and remains one of the most resonant elements of the story. Within the same prism, violence becomes a central component of the narrative, beginning with domestic abuse, continuing with police brutality and ultimately extending to society at large, thus adding another layer of social commentary. Although there are fleeting moments where violence seems almost glorified, the overall trajectory clearly focuses on the devastating consequences of its endless cycle. At the same time, moments of tender affection, particularly in the relationship between Vinod and Malini, provide a degree of emotional contrast, even if the recurring theme of alcoholism tempers any sense of romanticism. It is precisely here that the main issue comes to the fore, since apart from the overarching backstory, Krishnan attempts to incorporate a multitude of social messages, some of which feel forced within the narrative and occasionally lack coherence. Furthermore, the way the central twist is revealed appears somewhat far fetched, resulting in a story that, although grounded in realism, ultimately resembles a horrendous fairy tale. Nevertheless, the presence of Joju George in the double role proves redeeming. He presents a range of psychological states and demeanors with remarkable precision, while his evident charisma fills the screen every time he appears. The action sequences in particular remain memorable, both for their brutality and their speed, with Manu Antony’s editing reaching one of its apogees in these moments. More broadly, the editing stands out as one of the strongest traits of the movie, thanks to its fast pace, the effective placement of flashbacks and a subtle Rashomon effect that is well integrated into the structure. Vijay’s cinematography captures the various settings with competence and an intense focus on realism, avoiding unnecessary stylistic exaltation. Ultimately, the combination of entertainment and social commentary does not always function seamlessly in “Iratta”, yet the latter aspect is handled with enough conviction to make the experience worthwhile. Even if the narrative does not withstand intense scrutiny, the overall result remains engaging, while fans of Joju George will undoubtedly find much to appreciate here. Tags:AnjaliArya SalimIrattaJoju GeorgeRohit M. G. KrishnanSrikant Murali