Hence, it was a relief the way the film ended, even though that denouement is hardly representative of the crime he has perpetrated. The level of evil that has him hounding two people only because they happened to be connected to his target of revenge. It’s the inherent evil within a supposedly good person that is the ultimate horror in Ishq.
You probably know in the back of your heart that he won’t resort to any extreme (unlike the earlier episode where anything was possible), though he does cross several boundaries in his quest for revenge. And he does heinous things to two good people, one of them being a little child. But, you heave a sigh of relief that the film doesn’t take it to that extreme, even as the trauma that the good people are left with is going to last a lifetime because of what was not done and merely hinted at.īut, in the second ordeal, you are aghast that the perpetrator is not a conventionally ‘bad’ person. The film could have gone into a tailspin and really bad things could have happened otherwise ‘good people. And here, the home invasion trope is turned upside down because of who performs the act!Įven here, the details would make you squirm merely thinking about them: In the first ordeal, you knew that the perpetrators were obviously and visibly ‘bad’. Alvin’s wife and little daughter are the collateral damage I’m referring to. In that alarmingly realistic scenario comes the equally alarming and intimate focus on something very few vigilante justice films ever venture into – a focus on the collateral damage. When he decides to turn vigilante and avenge the insult to his manhood (and not for the harrowing experience of his girlfriend, which had already been sidestepped when he didn’t react to that at all after the ordeal, something Vasudha points out to him too, categorically), he empowers every boy-next-door to believe that this is a possibility. Sachi, in comparison, is the boy next door – sheepish smile, and utterly normal. But he is a make-believe in the way they stretch his actions into something utterly incredulous. Arjun was propped with a lot of hero’ness – he is not real, but aspirational (unfortunately so).
I felt like a pervert watching those two stretches and I have to accept that it makes for a riveting watch – something you don’t want to see, but still persist, with your mouth agape and mind numb, hoping/praying for the best.īut, Ishq is also 10X more problematic than an Arjun Reddy.
It is to the film’ credit that I couldn’t watch it without squirming when two of its biggest, most impactful stretches were playing. To me, Ishq was perhaps the most refreshing and intimate take on the vigilante justice trope Indian cinema is usually obsessed with forever. (Should I also connect, Rangan-style, the first names of both actresses – Anna and Ann? Nah.) I need to know”, after what he and Vasudha (Ann Sheetal) have endured the previous night. Shane Nigam as Sachi, in this film, growls, “I am a man. Shane Nigam as Bobby, in that film, shouts, “I am a man!”, when Baby (played by Anna Ben) refuses to kiss him in the cinema theater. I missed it when it was in theaters – I reserve my theater experience to larger-than-life films, and indulge in so-called smaller films at the comfort of my home, on one of the many OTT platforms that thankfully offer them with English subtitles.Ĭonsidering I recently watched Kumbalangi Nights on the same platform, I couldn’t help marvel at the connection between the two:
#ISHQ MALAYALAM MOVIE MOVIE#
And this is mainly because the film topples, on its head, 2 well-known movie tropes – vigilante justice and home invasion. Ishq is perhaps the most infuriating movie I have seen in quite a while.
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