In 1989, the cinematic landscape witnessed the emergence of a blockbuster mystery thriller that would leave an indelible mark on its audience. “Utharam,” directed by K Pavithran, draws inspiration from Daphne Du Maurier’s short story “No Motive,” with the screenplay skillfully crafted by M. T Vasudevan Nair.
The narrative unfolds with the enigmatic journey of Balu, a journalist portrayed by the seasoned actor Mammootty. The crux of the storyline revolves around Balu’s relentless pursuit of answers surrounding the tragic suicide of his friend’s wife, Selina Joseph, played by Suparna. The film intricately weaves a tale of mystery and discovery, with Balu delving into the shadows to unravel the truth behind Selina’s untimely demise.
What sets “Utharam” apart is the director’s masterful storytelling, skillfully navigating through the haunting aftermath of a gunshot that echoes Selina’s tragic end. Pavithran’s directorial finesse shines through as he deftly steers clear of clichéd scenes, offering a refreshing take on the thriller genre prevalent at the time. The suicide scene is meticulously crafted, elevating it beyond the norms and establishing the film as a standout in its era.
Adding a poignant layer to the narrative is Balu’s compassionate endeavor to help Mathew, portrayed by Sukumaran, who is grappling with the unnatural weight of his wife’s death. A flashback scene unfolds as Mathew stares at their wedding album, capturing the raw emotions of loss and despair. This emotional subplot adds a profound depth to the film, resonating with the audience on a visceral level.
“Utharam” introduces an innovative cinematic technique for its time—the use of Match Cut. This visual storytelling device seamlessly transports the audience from one scene to another without their conscious realization. The Match Cut employed in the film serves as a subtle yet impactful element, enhancing the overall viewing experience and further setting “Utharam” apart from its contemporaries.
(Album shot from the movie- The flashback scene from the moment when Balu looks at their wedding album is a perfect example of a match cut. The same technique is used in the movie, which was not common in films of that time. A match cut is employed to smoothly transition the audience from one scene to another without them even realizing it.)
Flashback real shot – below
The cross Match Cut takes the narrative a step further, illustrating Balu’s journey to Mysore for additional research. This unconventional presentation choice distinguishes the film from others of its time, providing a unique perspective on Balu’s investigative process and adding layers of intrigue to the storyline.
(-balu’s departure to mysore – Similarly, Balu’s departure from Mathew’s house and his return are depicted using the reverse cut of the previously shown match cut.)
Balu returning from mysore (below)
There is also a distinct difference in the presentation of the story, depending on how Balu perceives each character. The audience, alongside Balu, seamlessly slips into the Core Story, an immersive experience that moves away from the spoon-feeding storytelling of its time. Pavithran’s directorial vision invites viewers to become active participants in the unraveling mystery, fostering a deeper connection with the characters and their complexities.
When Balu encounters Molly, portrayed by Sukumari, Selina’s confidante, he delves into Selina’s past. The narrative takes unexpected turns as Balu learns about a bus accident, which later transforms into a revelation of tuberculosis when he meets a man named Mathai. The twists continue as Balu discovers more about Selina’s past, including her pregnancy from a college professor, introducing an element of unpredictability and depth to the storyline.
Balu, a chameleon-like figure, transforms into various characters to perceive the truth from different angles. This narrative device is masterfully executed, thanks to the extraordinary acting skills of Mammootty, who breathes life into each role. In the flashback scenes, the source of Selena’s pregnancy remains undisclosed, cleverly masked by the director. A divine painting becomes a crucial element in these moments, subtly conveying the mysterious nature of Selina’s situation. The director skillfully depicts Selina as Holy Mary, and the child is referred to as Emmanuel, weaving a visual narrative that hints at a deeper, possibly otherworldly, significance to Selina’s journey.
A parallel narrative unfolds as Balu meets an old classmate of Selina’s named Shyamala, portrayed by Parvati. Their growing closeness adds another layer of complexity to the storyline, as Shyamala becomes a crucial link to the unraveling mystery.
The climax of “Utharam” is nothing short of cinematic brilliance. Balu’s deduction, drawn from an incident that Shyamala once shared, serves as the key revelation that unravels the truth behind Selina’s mysterious demise. Pavithran crafts a climax that transcends the norms of its time, leaving audiences in awe of the storytelling prowess on display.
“Utharam” thus emerges as more than a mere thriller; it’s a cinematic exploration that challenges expectations, captivates the imagination, and stands as a testament to the director’s ability to transcend the boundaries of traditional storytelling. With Mammootty’s compelling portrayal, Pavithran’s directorial prowess, and the nuanced use of Match Cut, Cross Match Cut, enigmatic character perspectives, and a climactic revelation, “Utharam” remains a timeless mystery that continues to intrigue and resonate with audiences, taking them on an emotional and intellectual journey like never before.
