It’s a relief when a B Unnikrishnan film, that too one scripted by Udayakrishna, turns out to be... not bad! Considering the last film of the former, and the last two films of the latter, I went into Christopher with zero expectations, but I’m glad to report that the film sees both names return to form. Perhaps not having any expectations contributed to my appreciation of it, warts and all.
At its core, Christopher embodies the spirit of many vintage vigilante films, such as Death Wish, some of the notable (for the right and wrong reasons) titles from Malayalam that starred Mammootty in the 80s, or Shaji Kailas’ early work. This means the slightly unsubtle aspects that accompany many a superstar-driven thriller can be found in Christopher too. But one has to see this film for what it is—a commercial entertainer—but, unlike with Aaraattu, the makers don’t use tags like ‘unrealistic entertainment’ as an excuse here to mask its flaws or go overboard with the material. Its sensibilities were apparent from the promos.
Mammootty plays Christopher, the head of a department that handles crimes against women. A deeply traumatising personal tragedy shaped his origin story. So it’s fitting the film opens with him sitting next to a hospital bed, distraught at the state of a survivor of sexual violence, and later exacting retribution for her and her murdered female friend.
And since this is not the only instance of rape in the film, the trigger warning goes without saying. The multiple depictions, one of which recalls the haunting Nirbhaya incident, are upsetting; thankfully, they are brief, not needlessly prolonged or shot with an exploitative gaze—issues in the Malayalam films of the 80s and 90s. In terms of its violent content, Christopher, which is fittingly rated U/A, is closer in tone to Gautham Menon’s Vettaiyadu Vilayadu. I saw a woman with a kid sitting next to me, and I’m not sure bringing the child to a film with the constant threat of sexual violence in the air was a good idea.
As for the adult viewers, I have to add that whatever we see in the film is relatively tame compared to the extreme content on most violent shows and movies, even the popular ones, that air on major OTT platforms today. It occasionally feels like Christopher is relentless in its focus on only one kind of crime—and it makes sense given its protagonist’s past—but it also seeks justice for other forms of violence against women.
That said, having a character like Christopher helps because he becomes a vessel through whom we can vicariously vent our anger at society’s ills. The legal maxim “Justice delayed is justice denied” is the foundation upon which the film is built. The vigilante cop gets celebrated on social media and television channels. The movie makes it clear whose side it is on and whether it’s right or not depends from person to person. You could start debates on this, but sometimes films can be all about entertainment and entertainment only—and, of course, catharsis!
However, I wish the paybacks carried more punch instead of a quick bullet in the back, considering the brutality the victims suffer. But I guess it wouldn’t be possible to realise everything on screen when catering to a wide-scale audience. Mammootty, who has had considerable experience playing the saviour in numerous films, is apt for the part of a seasoned, brooding police official whose path would’ve been on the other side of the law had it not been for the timely benevolence and mentorship of a veteran cop (Sarath Kumar in a flashback cameo). The makers bring a lot of admirable restraint to this character. I couldn’t help but remember Mammootty’s iconic GK from New Delhi (1987). Christopher is rarely prone to outbursts, but at the same time, he is not above saying cheesy lines like, “I’m the Samhara Murthy (lord of destruction)” while talking to a villain who also has a ‘Murthy’ in his name.
Out of the principal female characters, Amala Paul stands out as a cop with her own traumatic past. She imbues her character with the right amount of style and dignity. Aishwarya Lekshmi doesn’t get to do much but becomes a character pivotal to Christopher’s journey later. Sneha, as an IAS officer, delivers the weakest performance.
Shine Tom Chacko plays a corrupt cop whose personality mirrors the jittery, restless actor during his recent interviews. But he gets a couple of funny lines that moderately amused the audience.One of my minor gripes about the film is that it falters a bit when it tries to bring in mass elements, which proves ineffective. It is at its best during the quieter, more contemplative moments. The slightly repetitive slow motion, speed-cranking, and background score intrusion to make the character look cool wears you down after a point.
I liked some neat touches in the character detailing, though, such as the comforting tap on the arm—which Christopher inherited from Sarath Kumar’s character—when interacting with a survivor. I also appreciated the anamorphic canvas (as seen in Lucifer), which helps lend a sense of scale owing to this format’s ability to accommodate more details which wouldn’t have been possible otherwise.
Christopher once again proves that the thriller genre is B Unnikrishnan’s strong forte —his most restrained and engaging film since Villain, even if not all of it satisfies. With Aaraattu, I was exhausted after the first 90 mins. That’s not the case with Christopher, which retained my undivided attention for its entirety.
Film: Christopher
Director: B Unnikrishnan
Cast: Mammootty, Amala Paul, Aishwarya Lekshmi, Sneha, Shine Tom Chacko
Rating: 3/5 stars