Sookshmadarshini movie review: If the adage “Rome wasn’t built in a day” needed a face, Basil Joseph would be the perfect one. From the silly and negligible portrayal of a clueless video editor in Homely Meals (2014) to his spot-on depiction of a suspicious, shady youth in MC’s Sookshmadarshini (Microscope), Basil has come a long way. And without any doubt, the main draw of the mystery comedy Sookshmadarshini lies in the finesse with which he shoulders the nuanced, grey-shaded character, anchoring not just his role but the movie as a whole.
An innately curious person, Priyadarshini’s (Nazriya Nazim) inquisitiveness, while occasionally bordering on nosiness, often proves invaluable in situations demanding the unraveling of complex problems or finding solutions to puzzling issues. She lives with her husband Antony (Deepak Parambol) and their little daughter Kani (Hezzah Mehak) in a semi-rural neighborhood; and though currently unemployed, Priya is actively hunting for jobs. A very jovial couple, Priya and Antony share a great bond with their neighbours; with Sulu (Akhila Bhargavan), Asma (Pooja Mohanraj) and Stephy (Merin Philip) being her closest friends. Together with other women in the area, they are even part of a close-knit WhatsApp group where they exchange updates about their lives and the local happenings.
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However, the relaxed atmosphere in their neighborhood starts heating up when Manuel (Basil Joseph) and his mother Gracy (Manohari Joy) return to their old house next door after living away for years. As his mother is an “elderly ailing woman,” who doesn’t speak much, Manuel is mostly seen caring for her. While he appears chill and friendly with everyone else, Priya notices something unusual about him and begins to suspect he’s hiding something in his home. Her suspicions deepen when she realises Gracy isn’t as sick as Manuel claims. Driven by curiosity, Priya starts investigating Manuel’s actions to uncover what he is up to, eventually stumbling upon a web of startling revelations about him and the secrets he is trying to bury within his house.
There’s a certain charm in films that resist the urge to overdo, oversell or overachieve and instead focus on presenting their ideas in a way that aligns perfectly with the story’s tone; and Sookshmadarshini embodies this principle well. It stays true to its identity, avoiding unnecessary embellishments or forced additions. With a steady focus, an acute awareness of its surroundings and careful execution, MC’s film takes viewers on a captivating journey. Navigating the narrative’s twists, turns and bumps with finesse, MC and team deliver a “perfect OK” mystery comedy, although not without flaws.
Watch Basil Joseph and Nazriya Nazim’s Sookshmadarshini trailer here:
From the outset, MC and writers Libin TB and Athul Ramachandran have a clear vision of what they want to achieve and they build only what’s necessary, ensuring everything aligns seamlessly. The neighbourhood, where people are aware of even the most mundane details about one another’s lives, serves as a brilliant setting and with just a handful of scenes, the makers vividly capture the essence of this locality. The meticulous thought and effort behind selecting the perfect neighborhood for the shoot are evident, and its impact is felt throughout the movie. Set in a rural area of Kottayam district, the houses here typically have low compound walls, making it difficult for residents to hide their private affairs completely. Notably, one of the only few houses with a tall compound wall is Manuel’s, emphasising the eerie vibe surrounding it.
While it’s very clear that Manuel moved back with his mother to this neighbourhood under the assumption that the locals are stupid, making it easy to conduct his shady plan unnoticed, the script cleverly positions a group of housewives — often dismissed in real life and mainstream cinema as idle gossipers — as the primary obstacle to his scheme. These women, underestimated by society and the antagonist alike, form an impenetrable barrier against his plans and the way the film highlights their strength and determination to thwart Manuel is a testament to its out-of-the-box thinking. Both in writing and execution, the narrative pieces fit together seamlessly, resulting in a suspenseful and hilarious mystery comedy.
One of the film’s standout qualities is how well it has sidestepped clichés, with even seemingly minor moments feeling fresh and original. For instance, when Priya sneaks into Manuel’s house at night only to be caught red-handed, his reaction defies genre conventions — and societal expectations. As Priya walks back home after this, she notices Antony watching them from afar; and amusingly, the film resists falling into the predictable trope of infidelity accusations that are often thrown around in such situations. Instead, Antony, knowing his wife well, understands the situation without needing an explanation.
Unlike typical films in the genre, where villains are often in/directly lauded for their “brilliant” crime strategies even if they’re ultimately caught, Sookshmadarshini takes a different and commendable approach. It allows Manuel to devise what he believes is a “foolproof” plan but shows him undone by his overconfidence and inherent malice. Another standout feature of the movie is how it doesn’t provide the figurative “microscopic vision” trait to Priya alone and every character with a stake in the story is given this, with their respective lenses focused on different aspects and objects, adding depth and intrigue to the narrative; thus taking the inspiration from Alfred Hitchcock’s classic mystery thriller Rear Window (1954) to another level.
One of the film’s standout qualities is how well it has sidestepped clichés, with even seemingly minor moments feeling fresh and original. (Image: Basil/Facebook)
From the outset, Sookshmadarshini expertly balances mystery and comedy, ensuring that neither overshadows the other, creating a harmonious blend that engages audiences throughout. Even during the hilarious exchanges between Manuel and his ‘evil genius’ cousin Dr John (Sidharth Bharathan) or the latter’s father Roy (Kottayam Ramesh), the film carefully maintains its mysterious undertone. MC ensures the comedy doesn’t dilute the suspense, nor does the intrigue overshadow the humour, achieving a remarkable equilibrium. The director also avoids excesses and strikes the right emotional chord, delivering an impactful experience that audiences can cherish. In the end, when the true nature of the crime and its motive are revealed, the film completely shifts to a serious tone, treating the subject matter with the depth it deserves, yet still remaining consistent with the overall tone of the film.
While the story is largely seen from Priya’s perspective, Nazriya’s performance is inconsistent, particularly in the first half. At times, she comes across as somewhat amateurish, with echoes of her roles from Raja Rani (2013) and Ohm Shanthi Oshaana (2014) creeping in, which detracts from the more serious moments, especially due to a lack of impact in her delivery. However, she finds her rhythm in the second half, delivering a more compelling performance.
Basil Joseph’s portrayal of Manuel is arguably his best to date, even better than his role as Fr Kevin in Joji (2021), as he effectively conveys the essence of the character through subtle expressions, body language and even through the simple yet powerful lines. He expertly shifts between comedic and dramatic moments, doing full justice to both the character and the film’s tone. Sidharth Bharathan excels as a Mojo Jojo in 144p, with his comedic performance standing out. Unfortunately, his character isn’t fully developed or utilised. Supporting actors Ramesh, Manohari, Akhila and Pooja Mohanraj also contribute significantly to the film’s success, enhancing its overall quality.
Basil Joseph’s portrayal of Manuel is arguably his best to date. (Image: Basil/Facebook)
The contributions of cinematographer Sharan Velayudhan, composer Christo Xavier and editor Chaman Chakko deserve equal recognition for their invaluable work in shaping the film. MC’s use of silence is particularly effective and when the music swells, Christo delivers exceptional compositions that elevate the film. While the first act features an overuse of close-ups, which can be somewhat irritating, Sharan soon opens up the visual scope, allowing the movie to reach new heights, an effort expertly complemented by Chaman’s editing. Vishnu Govind’s sound design and Vinod Raveendran’s art direction further enhance the film’s atmosphere and also deserve praise.
Sookshmadarshini movie cast: Basil Joseph, Nazriya Nazim, Akhila Bhargavan, Pooja Mohanraj, Deepak Parambol, Sidharth Bharathan
Sookshmadarshini movie director: MC (Jithin)
Sookshmadarshini movie rating: 3.5 stars
