Bougainvillea

The movie was clearly inspired by *Before I Go to Sleep*, which was itself an average thriller. Unfortunately, this remake doesn't improve upon the original and is riddled with plot holes that make the story less believable. While the acting is commendable, with the cast delivering strong performances, the screenplay lacks depth and coherence. The music and cinematography are well-executed, creating a tense atmosphere, but they are not enough to save the weak narrative. The pacing feels uneven, and the lack of logical consistency prevents the film from being truly gripping. Overall, a style over substance movie.

When Amal Neerad announced a new movie with Fahadh Faasil, I was excited to see what they'd have in store for us. Their combination in Iyobinte Pusthakam and Varathan produced some cinematic fireworks. This time they teamed up in a new psychological thriller Bougainvillea. Bougainvillea is thriller involving David Koshy, played by Fahadh Faasil, who is sets out to investigate missing girls and women from a town in Kerala where Reethu, played by Jyothirmayi, and her husband Dr. Royce Thomas, played by Kunchacko Boban live. Reethu and Royce meet with a car accident 8 years ago and as a result Reethu loses her memory. How is she related to the missing girls and why is David Koshy investigating Reethu despite her memory loss forms the rest of the story.

In typical Amal Neerad style, the movie is packed with technical brilliance. Be it the screenplay, cinematography, editing or sound. Amal leaves us enough breadcrumbs throughout the plot for us to guess what might be going on and we will be able to. As this is a psychological thriller and not a suspense thriller. The thrill comes from the "howdunnit?" instead of the "whodunnit?" aspect. I must say that Amal was successful in generating that interest till the climax.

This story is based on a novel called "Ruthinte Lokam" (Ruth's World) written by Lijo Jose, who co-wrote this movie with Amal Neerad. Jyothirmayi delivers a solid performance as ailing Reethu who is struggling to make sense of the happenings around her. So was Kunchacko Boban as Royce Thomas who stands support to her wife. Fahadh Faasil delivers an ok performance in a character that had barely any scope to perform.

While the movie keeps you engaging, it needed a better act 3 and climax to deliver that thrill. But unfortunately, this ended up being an average and unsatisfying watch.

A pulpy mystery thriller with the typical Amal Neerad visual flair, nothing more, nothing less. Excluding the finer details, most of it was predictable but still engaging enough. The cast did well but didn't feel anyone did anything extraordinary. Can't believe Fahadh is doing such an insignificant cop role. The climax could've been choreographed better for more impact. The three-against-one scene could've been utilized better. With Amal Neerad's style, the film's problem is that it's neither grounded nor really stylish enough. A lot of the twists and turns ended up very flat. The flashback portions didn't feel really convincing. I expected a bit more than that, so I ended up feeling underwhelming. Still, the whole thing is stylish and atmospheric enough to be an okay watch.

I watched the movie on its release day, and the first half was absolutely gripping. It's a slow-burner, but if you're invested, you'll feel the anticipation and excitement building as the story unfolds. The film keeps you on the edge of your seat, with a narrative path reminiscent of movies like The Sixth Sense or The Prestige-constantly surprising you with twists you can't predict.

However, the second half didn't quite live up to the expectations set by the first. The suspense, while intriguing, missed the mark it was aiming for. Still, it's a great watch overall. The cinematography, background score, music, and acting are all top-notch. I just wish the second half had delivered more impact. Nevertheless, it's definitely a must-see.

The film Bougainvillea, directed by Amal Neerad, can be classified as a cinematic work belonging to the crime thriller action drama genres.

The narrative is focused on the family of Reethu and Dr. Royce, with Reethu, a character afflicted with retrograde amnesia, experiencing frequent memory loss. She also encounters hallucinations and other psychological disturbances. Her husband is depicted as providing her with excellent care, and she has a domestic servant named Rema who assists her. Reethu creates a world of her own through her possessions and engages in painting Bougainvillea flowers regularly. She also had two children, who appeared in her hallucinations. The film then transitions to a police officer named David Koshy, who arrives to investigate the disappearance of a young girl. During the time of disappearance, Reethu was present there, and the police questioned her on several occasions. She exhibited some unclear memories regarding the girl, but she was uncertain. The police suspected that Reethu might have connections with the disappearance. Royce's persistent efforts to extricate her from this predicament are noteworthy. As the film reaches its culmination, a significant twist emerges: Royce is revealed to be the perpetrator of the girl's abduction and subsequent murder. This revelation is further compounded by the fact that Royce had previously kidnapped several other girls. He manipulates Reethu's forgetfulness as a strategic advantage, creating a facade of reality that obscures her true surroundings. As Reethu's memory gradually returns, she comes to understand the full extent of Royce's transgressions. In the culminating act, a confrontation ensues between Reethu, Rema and a criminologist, ultimately leading to the vanquishing of Royce.

The narrative was of mediocre quality, exhibiting significant pacing issues, which rendered it challenging to establish a connection with the preceding narrative. In the culminating scenes, a women's empowerment programme appeared to be manipulated, seemingly unnecessarily. The performances were commendable, though not universally so. The inclusion of Fahad Fazil and Sharfuddin in their respective roles appeared superfluous, as their absence would not have significantly impacted the narrative. The direction was consistent with Amal Neerad's typical style, and the musical scores were noteworthy. In conclusion, this film stands as a notable example of Amal Neerad's directorial style, though it is perhaps his least successful work. It is recommended for one time watching, albeit with the caveat that it is not his most essential cinematic work.