Paradise movie review: Darshana Rajendran, Roshan Mathew film is a masterclass in filmmaking

However, the situation takes a dramatic turn when a pair of masked intruders break into the cottage and rob Kesav and Amritha at knifepoint. Kesav, frustrated over losing essential gadgets crucial for starting work on a recently landed Netflix series he believes will be a breakthrough, elevates the issue by approaching the police. Initially hesitant due to a lack of fuel for their vehicles and the tense circumstances, the police become involved when Kesav threatens to contact the Indian High Commissioner.

The cops respond “swiftly”, apprehending three “suspects” from a colony occupied by Eelam Tamils. Although Amritha cannot confirm their involvement, Kesav immediately points fingers at them, prompting the police to begin interrogating them. The police quickly resort to harsh methods, with Sergeant Bandara (Mahendra Perera) using an iron rod to inflict severe injuries on them, hospitalising one. Despite the suspects’ claims of innocence, the police persist in harassment “to extract the truth”.

Even while they are bleeding, Kesav directs Sgt Bandara to retrieve his stuff at the earliest, paying no heed to the condition of the accused. Amritha is disturbed by the cops’ animosity towards the minorities and her partner’s indifferent attitude. Meanwhile, learning about the arrests, the Tamil community begins protesting in front of the station. Nevertheless, Kesav adds fuel to the fire by pressuring the police, who continue their methods to swiftly resolve the case, further escalating tensions.

Even though the film does not explicitly depict the massive protests occurring in various parts of the country, Vithanage brilliantly conveys the turbulence in Lanka through simple yet effective means. This ranges from illustrating the helplessness of people around Kesav and Amritha in finding basic items, including fuel, to capturing the tension in the faces of the locals. The filmmaker makes it clear that the Lankans earnestly wish for the couple to have a pleasant time and depart without any complaints, hoping to attract more tourists to the country.

Simultaneously, Vithanage adeptly explores different themes, including the elitist and self-centred behaviour of the unaffected, portrayed through the well-crafted character of Kesav. Initially appearing as a calm, loving man, Kesav’s true colours emerge when his gadgets go missing. Despite seemingly deeply in love with Amritha, he engages in a blame game, questioning if she forgot to close the windows through which the robbers entered. In contrast, Amritha, less concerned about her lost laptop, focuses on the larger issue of innocent people being mistreated by the police to solve the case. Having been with Kesav for five years, this marks the first time she witnesses his unempathetic side, leaving her deeply disturbed.

As the film progresses, Kesav becomes increasingly naive yet remains determined to retrieve his belongings, regardless of the methods employed by the police. However, when the Eelam Tamils initiate protests against the police’s unjust detention and harassment related to this case, Kesav perceives it as a threat and begins assisting the police in establishing a security shield for everyone involved. On the other hand, guilt starts to weigh on Amritha as she acknowledges their role in escalating the situation and the hardships faced by the local people. Writers Anushka Senanayake and Vithanage skillfully capture the nuances of both the couple and the locals in their brilliant screenplay, emphasising their traits and nuances. This is juxtaposed against the looming crisis in Lankan society, illustrating how the country reached its current state due to an undue focus on things that did not warrant much concern.

The writer duo also skillfully integrates multiple languages into the narrative, including Malayalam, Sinhala, Tamil, Hindi and English, along with characters from various parts of the world, while also ensuring that nothing appears contrived. With impactful scenes, the film portrays the system’s unapologetic oppression and harassment of Eelam Tamils as well. It delves into how, when the Tamils resist and question the inhumane treatment, the narrative is manipulated to depict them as threats to society. Additionally, the film includes references to the Ramayana, as narrated by their tour guide-cum-driver Andrew (Shyam Fernando) to the couple, especially Amritha, during their exploration of the country. Through these stories, Paradise further emphasises its central theme of injustice.

Vithanage brilliantly composes every shot in Paradise, making sure that not a single aspect of the movie goes uncommunicated. From flawless characterisations to the adept establishment and unfolding of each moment, Vithanage creates a nuanced and detailed portrayal of Lankan society. The film also highlights class disparity, underscoring how the historically oppressed population, devoid of privileges, bears the impact of the unaffected influential class.

Darshana Rajendran once again proves that she has established herself as the standard for acting excellence. She brilliantly conveys the gradual evolution of her character, unravelling the fears and confusions faced by Amritha with astuteness. Even in quieter moments, Amritha becomes the conduit for the intensity of the scenes and Darshana embodies the character with utmost perfection, offering profound insights into everything the character experiences. Her rapport with Andrew also serves as an important element in the film, as she confides her feelings about all that’s happening only to him. Darshana and Fernando ensure that their combined moments emphasise the importance of standing united and being there for each other in times of distress.

The brilliant Roshan Mathew effectively turns his character into the embodiment of everything wrong with Lankan society, with a special emphasis on elitism. Unlike Amritha, Kesav is rather loud, yet Roshan skillfully ensures that the character doesn’t come across as purely evil but more like ‘evil within, yet deceivingly naive’. The exceptional chemistry between Roshan and Darshana also contributes significantly to the film’s ability to convey profound messages with minimal dialogue.

Ace cinematographer Rajeev Ravi’s contributions to Paradise are nothing short of spectacular. Even in the minutest of moments, he manages to add extra layers of depth through the frames, offering a vivid portrayal of society in various dimensions. The outstanding work by editor A. Sreekar Prasad further enhances the enduring charm of Paradise. Dhammika Hewaduwaththa’s proficiency in the art department stands out, and sound designer Tapas Nayak effectively sets the mood throughout the film.

Paradise movie cast: Darshana Rajendran, Roshan Mathew
Paradise movie director: Prasanna Vithanage
Paradise movie rating: 4.5 stars