There’s one inherent drawback in whodunit thrillers set in the present day – Technological advancement. Technology, not only simplifies the investigation process but also robs the sheen off the awe and wide-eyed surprise when the case finally unravels. It is probably why, if you ask me, the Sethuraman Iyer CBI films in Malayalam or a Chidambara Ragasiyam or Mounam Sammadham in Tamil, is still worth multiple re-watches. And surely, joining this short but illustrious list is the Jayathirtha-directorial Bell Bottom.
The moment writer TK Dayanand set his well-written script in the 1980s, all Bell Bottom required was a talented director who knew his 80s and actors, who could walk the thin line of avoiding caricature. Jayathirtha is efficient in recreating the world and has a firm grip on the proceedings, ably supported by a strong ensemble cast lead by Rishab Shetty.
Rishab plays Detective Diwakar (The alliteration in the name is one of the many well-delivered quirks), a carrot-eating, pipe-spouting, handlebar-moustache-sporting, intelligent investigator, who is incharge of the case of the robbed police stations. Every detective origins story, right from Guy Ritchie’s Sherlock Holmes to Mysskin’s Thupparivaalan begins with a smaller case that establishes the detective’s credentials to his peers and the audience alike. And on this note, Bell Bottom works like a charm, especially since the film is fashioned as a comedy too. However, Diwakar isn’t a bumbling detective who just stumbles upon the clues. He might be funny. He might have outrageous methods to his madness. But, the writing ensures that you always laugh with him, and never at him. And this distinction is very important considering Jayathirtha and Dayanand want you to have a fun time at the movies, but not at Detective Diwakar’s expense.
I personally liked how the credentials-establishing case is a pretty serious murder investigation that is told in a lighter vein, and Rishab is a hoot in these sequences. The main case, about recovered dacoity loot being stolen from the locker inside the police station, might seem harmless at first, but it takes a strong turn, which pushes Detective Diwakar to his wit’s end.
Another important facet about a small-scale whodunit is that the perpetrator of the crime should be someone hiding in plain sight. And the making of the film leaves a lot of red herrings strewn throughout the film. A lingering shot on a character that makes you think if they are indeed the antagonists. All clues point to the obvious, but then there is the proverbial twist in the case. And in Bell Bottom, while the twist isn’t something you can figure out before Diwakar, the last act definitely feels like a copout of sorts. But, of course, the making is so spot on that even at such dull moments(read romantic portions and a wonderful but ‘over-staying its welcome’ song) you can’t help but root for Diwakar, and the motley cast members.
I have not seen much of Hariprriya, but just taking Bell Bottom into consideration, I’m pretty sure I want to see more of her. She beautifully embodies the physical grace of the character set in the 1980s, and every dialogue exchange between her Kusuma and Rishab’s Diwakar is a delight. She puts up an impressive show as the love interest of Detective Diwakar, and has multiple layers to her character that makes her indispensable in this whodunit. And Achyuth Kumar, who plays Diwakar’s father, is a major comic relief in Bell Bottom. As I said earlier, the comedy isn’t something that feels forced, but is very organic, and the performance by Achyuth is a major reason for the same. Every auxiliary character is author-backed and none of them can be taken at face value. This builds up enough intrigue for you to be invested in the film. The writing doesn’t take the audience for granted, and every loose end is tied up neatly by the time the credits roll. Special mention to composer Ajaneesh Lokanath whose background score enlivens the proceedings and lends the necessary gravitas to the comic caper.
Bell Bottom is a film that puts you back in the times of a Byomkesh Bakshi or a Feluda or a Thuppariyum Sambu, where the case wasn’t something as huge as thwarting an assassination attempt of a National leader, or stopping a terror plot. It is good old-fashioned detective work about a singular case that is impacting the lives and times of a very small group of people in a particular location. The localisation of the plot helps the filmmakers concentrate on more important things like script and screenplay. This not only helps in orchestrating remakes across languages but also opens up the path for a franchise. And I can’t wait to see what is the next case Detective Diwakar handles with his trademark humour and elan.
Avinash Ramachandran 