Add an amusing pre-interval stretch, featuring an interview between by-now popular Pastor JC and a sharp journalist Mathew (Soubin, in a rather unusual casting choice). When Viju is repackaged and christened Joshua Carlton (or JC), Trance takes it upon itself to give us insights into the pretentious yet swanky world of 'religion as a business'. Act II is when the film actually kicks into high gear. The cinematography by Amal Neerad is spot on too - their house in Kanyakumari will remain a lasting, melancholic memory. This stretch is indeed the best written-and-executed part of Trance. Here, the subjects of depression and mental health are tackled through the poignant yet warm performances of Fahad Fahil (who plays struggling motivational trainer Viju Prasad) and Sreenath Bhasi (who plays Viju's depressed younger brother Kunjan). Nazriya's character, who arrives in the latter half, felt completely unnecessary and did not add anything to the already-overstuffed screenplay, The script by Vincent Vadakkan offers glimpses of brilliance in its initial portions.
#TRANCE MALAYALAM MOVIE PLUS#
While Fahad Fazil's performance is certainly a plus point and he, in fact, elevates the subpar writing in the second half, the film is tonally all over the place and does not have a clue what it wants to tell its viewers. Trance turned out to be a mixed bag as a viewing experience.
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No doubt that Trance makes for a very energetic viewing and provides fodder for thought long after you have finished watching it, but I don't think I will rewatch it unless I want to trouble myself, not with the story but with the loudness that goes overboard putting me into a state of actual trance. That's because following the high-octane proceedings takes a heavy toll on you - the viewer - even as you sympathise with the anti-hero and pray evil to the antagonists. But then it has its problems - primarily of the overlong running time and a messy recipe that fails to hold itself together - which tend to lead you to a territory where ennui is what you will only experience. Targeting religion (but focusing on Christianity), the evangelists involved in malpractices, and the hoi polloi that believe in them, writer Vincent Vadakkan pitches a story that starts making sense only slowly, asking you to provide your complete attention even as the cinema devours you through its magnetic background score, beautiful editing and choreography, and cast performance that looks like the actors are on actual drugs.
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With a production setup that can only be described as rambunctious, this crime drama feature by Anwar Rasheed takes on several social and political norms of the world we live in. Making more damage to your beliefs if you identify as a theist.