Chaaver movie review: Tinu Pappachan, Kunchacko Boban film uses bloodbath to convey the message that bloodshed is wrong

While on the run, they seek the help of a local medical student named Arun (Arjun Ashokan) to provide first-aid to Ashokan, who was injured during the attack on Kiran (Antony Varghese). Unaware of their involvement in the crime, Arun too, after helping them, finds himself compelled to flee from the police, who are now actively searching for the culprits and their associates. The remainder of the film follows their journeys and predicaments.

Though the film’s writer, Joy Mathew, who also played a minor role in the film, had access to numerous cases for reference and research to gain a deeper understanding of the politics behind “political” murders, Chaaver’s narrative disappoints as it never scratches even the surface. As the film majorly focuses on the perpetrators of the murder, it, in a way, seems to align with their actions without strong condemnation. Although the gang members are portrayed as pawns in the hands of the powerful, this aspect only becomes fully apparent towards the end. Simultaneously, since the narrative rarely explores the consequences of such actions on those who commit them, aside from the physical toll they face in the climax, it fails to analyse these heinous acts in depth. This omission is indeed problematic because it could lead to romanticising such actions.

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While the scene depicting the deceased’s body being brought home after the autopsy is undeniably heart-wrenching, credit for its impact is primarily due to Tinu’s skilful direction rather than the writer’s prowess.

Simultaneously, the writer’s un/intentional attempt to attribute all political violence to a single organisation or ideology is also questionable, as historical evidence presents a more complex reality. Furthermore, as the narrative focuses extensively on the perpetrators and their attempts to evade capture, it somewhat overshadows the gravity of the heinous act they committed.

Although Joy Mathew incorporates cultural references, particularly emphasising Theyyam and drawing a parallel between the murder of a person and deicide, Chaaver proves that such subtleties alone are insufficient when addressing sensitive topics, especially when they can potentially reopen unhealed wounds for many.

While the film undeniably showcases Tinu Pappachan’s skill as a visual storyteller, with every frame conveying more than what is written, Chaaver also raises a pertinent question: is bloodbath the right way to convey that bloodshed is wrong? In contrast to his previous directorials like Swathanthryam Ardharathriyil (2018) and Ajagajantharam (2021), Chaaver is not a blatant glorification of hypermasculinity, where the physical dominance of men over rivals takes centre stage. However, its aestheticisation of violence does not align with the central theme, making it counterproductive. Especially towards the end, the blame also falls on the writer here. As the director creates a visually impressive gunfire confrontation sequence, it raises questions about whether such beautifully choreographed scenes that celebrate bloodshed and violence are suitable for a film centred around “political” violence.

Helmed by Tinu Pappachan, Chaaver revolves around a murder carried out by a group of four persons and their attempts to evade capture. (Image: Kunchacko Boban/Facebook)

Tinu, however, excels in scenes involving crowds, much like his mentor Lijo Jose Pellissery, showcasing his filmmaking prowess. While each of Tinu’s creative choices stands out in the film, their overall lack of synchronisation with the subject is evident, especially given the script’s weakness, with no moment evoking a sense of completion.

Jinto George’s cinematography also deserves much appreciation here as each frame in the film resembles a meticulously crafted painting. His skilful utilisation of space and ability to capture the essence of the focused subject in each frame, along with a clear mastery of colour usage, ensures that the film is visually captivating to the fullest extent possible. The contributions of editor Shameer Muhammed are also noteworthy, particularly in symbolic moments that employ intercuts, where his efforts truly shine.

Justin Varghese’s impactful soundtracks also merit praise, as they are the sole elements that evoke emotions that were notably lacking in the written script. His beautiful incorporation of Theyyam songs and dynamic background music at the right moments elevates the overall atmosphere of the film.

While Chaaver doesn’t provide ample opportunities for the actors to bring out their A-game, the lead thespians excel in portraying their respective characters, with a particular focus on their nuances. Kunchacko Boban, in particular, reaffirms his versatility by delivering an impressive portrayal of the raw and cold-blooded Ashokan, while Manoj and Sajin Gopu also deliver standout performances.

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Even with his limited screen time, Antony Varghese proves that he is capable of much more than just action-oriented roles. Arjun Ashokan, however, struggles due to his inadequately developed character, resulting in a below-average performance.

In short, Chaaver can only be dubbed as a mediocre take on an ever-pertinent subject, primarily due to its subpar writing.

Chaaver movie cast: Kunchacko Boban, Antony Varghese, Arjun Ashokan, Sajin Gopu
Chaaver movie director: Tinu Pappachan
Chaaver movie rating: 2 stars