When you associate Srinivasan with a movie, you know at best, it would be a watchable one. Debutant scriptwriter- director Leo Thadeus has done to Srinivasan what Ranjan Pramod did to Mohanlal in Photographer.
The problem with Pachamarathanalil is its script- there is no cohesiveness to it and it meanders aimlessly between characters. The direction is equally lacklustre. Add to that, the kind of dialogues which you dont even hear in serials these days, you start cringing in your seat.Sreenivasan looks dull and disinterested. Padmapriya has been whitewashed to look good, but she ends up looking horrible. Lalu Alex repeats himself for the umpteenth time. Nazar is impressive. Lal and Meera Vasudevan in their cameos do not hold interest.The worst part of casting is in selecting the child actor who has a critical role to play. The kid overacts to its heart’s content and honestly, there is nothing attractive about the kid that would force someone to cast her in an ad film.
Pachamarathanalil might initially strike you as a kids’ flick, all loud and noisy. An odd half an hour later, it suddenly does a revamping of its background score into a spooky one and claims to be a thriller mystery. The unraveling of it doesn’t take up much time, and the latter half has a different story to tell. And before you realize it, you are in the midst of a riot and there’s religion and there are morals and there are victims.
For a moment I did wonder if Pachamarathanalil was inspired from the Ben Affleck directed Gone Baby Gone. Perhaps it isn’t, and Affleck wouldn’t look at it as a flattering inspiration either. Unlike the Hollywood flick, the missing-baby-mystery here refuses to gape at facts straight, and since it moves about with its eyes snapped shut, misses out on internal logic and a critical sense of judgment. The film’s major weakness lies in its transparency more than in its implementation.