Kammattam review: Sudev Nair-led series tries to lure us with clickbait tactics but stumbles aimlessly

Although its trailer and all other promotional materials maintained that the show is inspired “by true events” and the “sensational Thrissur cooperative bank scams“, Kammattam tries too hard not to bear many similarities with the actual cases, which has ultimately reduced it to just another crime thriller. While we are shown, at different junctures, some stakeholders at the bank making elaborate schemes to fleece public money and their discussions regarding past crimes — even pointing fingers at each other on certain occasions — the script, written by Sanjith RS, Sudheesh Sugunanandhan, and Jose Thomas Polackal, fails to make the best use of this plot device. Instead, this track ends up being little more than a token presence in the narrative, contributing minimally to its progression due to the writers’ lack of attempts to flesh it out. This, in turn, makes one wonder whether the makers’ claim that the show is inspired by the “sensational cooperative bank scams” that “shook Kerala and the nation” was merely a clickbait tactic.

From the very beginning, Kammattam comes across as unpolished, particularly due to the lack of finesse in its visuals. Following the opening sequence, featuring a vehicle chase culminating in a staged accident that feels like a scene from a short film made by amateur school students, we are introduced to Antonio, whose gestures and dialogue delivery appear as if he’s performing for an invisible camera crew. Not just Antonio, the dialogues of almost all other characters sound too refined, and director Shan never actually manages to root them in familiar grounds.

Watch SCREEN’s exclusive interview with Kammattam star Sudev Nair here:

One of the major factors that has significantly affected the series is the writers’ complete disregard for establishing the characters and their stories. Instead, the script immediately jumps into the investigation part at the outset itself and goes down only that route, which would have worked had the writing in those areas been engaging enough. We are instead offered a series of scenes where the police walk around, ask questions of people, and make discoveries that never truly pique audience interest. Given that even seemingly minor theft and robbery cases could be turned into engaging narratives — offering the audience unforgettable experiences as demonstrated by director Dileesh Pothan in Thondimuthalum Driksakshiyum (2017) and Rajeev Ravi in Kuttavum Shikshayum (2022) — Kammattam’s inability to pull viewers into its world despite having a couple of intriguing crimes at its centre showcases the makers’ inefficiency.

While I am already not interested in knowing why Samuel was killed, or what transpired at the co-operative bank and who all were affected by the scam, owing to the careless way these threads are presented, the laziness of Kammattam’s writing becomes even more glaring in the way the investigation unfolds. Why do all these characters, picked up for questioning by the police, start talking as soon as the cops ask the same question for the second time in a more aggressive tone? This applies to Perinad Pappan (Jordi Poonjar), Sarath (Akhil Kavalayoor), and Francis (Arun Sol) as well. Though they all committed massive frauds and crimes, as soon as the police start questioning, they immediately spill everything, as if they were waiting to tell their stories.

Sudev Nair in Kammattam. (Credit: ZEE5)

On the other hand, we see Antonio repeatedly telling them that he already knows everything about the crimes they committed and only wants them to confess. While this could initially be read as a psychological move to pressure them into speaking, it quickly becomes clear that he truly does know it all, as he effortlessly calls out their lies. But how did Antonio uncover all this information? The writers of Kammattam never provide an answer, probably because they themselves have no clue.

The makers’ confusion about whether to treat Kammattam as a procedural or a normal investigation thriller is very evident from start to finish, resulting in a confusing mix of both without capturing the strengths of either. At the same time, Kammattam also leaves viewers wondering why it was made into a show at all, when a full-length film might have served the story better. Each time the audiences are pulled out of the series every 15–20 minutes for credits, it only gives them ample time to realise how the writing has failed to follow an episodic structure. The division of episodes also comes across as clumsy and arbitrary, as though a feature-film script was hastily chopped into six parts simply for the sake of creating a series.

Jeo Baby and Arun Sol in Kammattam. (Credit: ZEE5)

Just as shoddy as the writing and making are, the performances also fail to impress, with only Jeo Baby’s portrayal of Samuel ending up as appreciable. Although Sudev Nair has proven himself to be a spectacular actor over the years, his acting choices here backfire. There are several occasions where Antonio’s overall attitude makes him look more like the kingpin of a crime syndicate rather than an investigating officer.

While Prakash Velayudhan’s cinematography is decent in some areas, it often looks too artificial, exacerbated by Sujieth Sadasivan’s colouring, which strips the surroundings of their natural shades. The lack of rhythm in Ratheesh Mohanan’s editing and the very obvious continuity errors in several places have also detracted from the overall experience, leaving Kammattam a forgettable endeavour.

Kammattam cast: Sudev Nair, Jeo Baby, Arun Sol, Jordi Poonjar, Akhil Kavalayoor, Ajay Vasudev
Kammattam director: Shan Thulasidharan
Kammattam rating: 1.5 stars