Sookshmadarshini: Microscopic Observations

Star Cast: Nazriya Fahadh, Basil Joseph, Akhila Bargavan, Merin Philip, Pooja Mohanraj, Deepak Parambol, Sidharth Bharathan, and Kottayam Ramesh 
Screenplay by Mc Jithin, Athul Ramachandran, Libin T.B.
Cinematography by Sharan Velayudhan Nair
Music Composed by Christo Xavier
Directed by MC Jithin 

Before diving deep into my observations regarding the Sookshmadarshini movie, consider this: Imagine Telugu cinema creating a kick-ass film with a budget of Rs. 3 – 5 crores, driven by great enthusiasm and a genuine interest in storytelling, rather than chasing Pan-India dreams and heavily investing in a film’s “technical standards” and “star pleasing.” If you can point out any such film post-Baahubali, I’m all ears [or eyes, as we are only reading and writing here]. Go on…

It’s okay if you find none. The point is about trying to tell a story through the best possible screenplay that a team can devise with available perspectives and resources. [Here, resources mean knowledgeable persons, not pretenders.] Sookshamadarshini is another example of how well you can thrill audiences with a tight screenplay and inspired narrative. If you do not want to read any kind of spoilers, then this is my one-line take for you: “This is a must-watch film if you love a good theatrical experience.”

Heads Up: Sookshma Spoilers Ahead

To be very specific, I watched the trailer and learned about the film’s existence. With Nazriya in the lead and Basil Joseph also starring, I felt compelled to watch it. After dissecting the trailer, I prepared myself for a thriller that could go either way. Following the nightmarish experience of watching Gold [2022], I felt it was prudent to be a bit skeptical, even if the trailer looked great and the people involved promised a fun film. However, as soon as the kaleidoscope title appeared about 20-25 minutes into the narrative, I was captivated. From that moment to the climax, I couldn’t take my eyes off the screen. Interestingly, I stopped predicting the plot and started soaking up the experience of watching a well-made thriller.

The moment we see Basil Joseph being super cool and incredibly nice, you know he is up to something really bad. The scene where he is talking to Stephy, if you notice, the camera and performance of Basil, indicate the eerie nature of the man. Is he trying to hide something? Is he setting up a scapegoat? Or is he planning a trick that no one in the neighborhood will see coming? Our suspicions are further heightened when he kills a monitor lizard and serves it as beef. Notice that he doesn’t eat it himself but serves it with such respect and love that everyone else believes his lies. This act hints at what he expects from this group: “Buy into whatever demeanor I show you.” It also comments on our observational skills – we often fall for the exterior without looking deeper into one’s character. When someone tries to act as the best person, which they are not, we are usually not equipped to see through their lies. This exemplifies the problem with judging a book by its cover.

On the contrary, we see Priyadarshini [Nazriya] taking out her nosepin from a small pipe. She observes it with her naked eye and figures out a way to pick it up, embodying the “Jugaadu Indian” spirit. Stephy is upset with her for not disclosing that she is also vying for the same job, yet she is okay with Priya lying on her resume about her experience. This shows that Stephy is more trusting, strong, yet slightly gullible. On the other hand, Priya is more street-smart and practical. She is not easy to trust others but is trustworthy herself, as she never intends to harm anyone. She is not a saint, she has jealousy and a tendency to show off. She is nosy, overindulgent, slightly manipulative, but good at heart. Priya notices Manuel‘s [Basil] duality quite early when he attacks a cat. You don’t hit it with a stone patiently to send it off, hurting it in the process. If you do so, either you show great patience to achieve what you want, or you’re a psycho who wants the world to burn and hurt others.

Notice how Ammachi [the mother] is written. She is extremely patient and never speaks to anyone. She manages to pull off a great mischief, if you know, you know. You can see how she is about to confide everything to Priya, winning her trust, but she is also very calculated in not wanting to hurt her. She remains in the shadows, and the one time she steps into full light, she scares like a ghost. You can never be sure if a ghost exists among us, but when they appear, they scare you for life. It is the ghastly nature of humans that is ghostly to us, as we can never truly figure out their intentions until they reveal their true colors. The ghost that hides within us putting a mask of goodness over our true nature, fortunately or unfortunately only comes to light when you suddenly throw a light at it. The film harbors such metaphors while keeping the narrative moving at its own pace. It does not rush to reveal the big twist, nor does it indulge so much that it puts you to sleep with its elaborate storytelling.

Also Read: Meiyazhagan / Sathyam Sundaram: Incognitive Distances

The investigation always focuses on what is being hidden rather than who is doing it. From the very first moment, it is evident that Manuel has bad intentions and something eerie to hide. Our curiosity centers around what he is hiding rather than why. Because once you know what is being hidden, the reason becomes apparent. For example, if you’re hiding the theft of Rs. 100 from your dad’s pocket, it’s easy to figure out the reason – you don’t want your father to be angry on you. Similarly, if you know what this family has to hide, you can deduce why. Our value system often encourages us to accept everyone, yet somehow, our culture has started to emphasize honoring false pride rather than embracing genuine humanity. While extreme measures are rare, this kind of honor, pride, and unwarranted hypertension continue to permeate our social fabric.

The name Priyadarshini immediately takes me back to Mayabazaar [1957], where the device used in the film also carries the same name. Inspired by Alfred Hitchcock’s Rear Window (1954) and Psycho (1960), the film borders on psychological thriller and investigative work. It balances both these elements in such a way without losing context that MC Jithin appears to be an expert in handling such thrillers. While MC consistently keeps us on edge throughout the runtime, there are some flaws, such as convenient twists in places. For instance, certain things are noticed by only one character, and Priyadarshini’s husband Antony is underutilized in the screenplay, even when she becomes too nosy. At times, the realistic approach takes a back seat to drama. Still, these are minor flaws in the bigger picture. The narrative is so tight that you don’t question why only one woman has doubts and how everyone else can be so gullible. What stands out is how the film maintains interest and showcases quality visuals without compromising on visual storytelling. It doesn’t take the audience for granted or insult their intelligence. For example, if you keenly observe the title of Sookshmadarshini, “Madar” is circled by magnifying glass, hinting at the sookshma details meant for the observant audience. And we wonder how a mother can be so ruthless, but that’s the point here. The old-school thought process can turn a person into that criminal, that heartless, and that blind. This is a film that young filmmakers can study and explore to learn how to minimize wastage while maintaining a high standard of storytelling.

A similar kind of reason for killing has been explored in many other films, so should that be the main focus, or should it be left for us to judge? The makers stated, “If you’re hurt by what happened, then you can figure out why.” It’s more about self-reflection into our deep feelings with a microscope, that is our conscience. When you lose that Sookshmadarshini and get caught up in the circus of exterior fashion, you need someone to bump into your car – your everyday life – disturb you, and show you the mirror. MC Jithin nailed it by concentrating on the detailing in the script and execution, making you reflect on his intention more than just the material. That’s what art should do. Maybe we are losing that insight to Instagram reels and twisted short stories with unbelievably bad actors in the name of comedy/commerciality. Just like how a free beer offered by a friend tests your integrity to hold back and not drink, similarly, a good film asks you to reflect and introspect to wash out the insipid feelings and become a true human.

Theatrical Trailer:

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