Am Ah Movie Review: Am Ah is a suspense drama with untapped potential
Am Ah Movie Review: Critics Rating: 2.5 stars, click to give your rating/review,Stephen (Dileesh Pothan) visits a beautiful mountainside hamlet in Idukki. He encounters a grandmoth
Critic's Rating: 2.5/5
Director Thomas Sebastian's Am Ah has a strong start. Stephen (Dileesh Pothan) arrives in a remote part of Idukki to oversee the construction of a new road. However, he seems unusually curious about a grandmother (Devadarshini) and her granddaughter (Baby Nihara). This curiosity leads to surprising revelations about both of them. While the first half is intriguing and the second half opens up with plenty of possibilities, the filmmaker takes the easy way out with the climax. Everything is wrapped up too neatly.
The story itself is well-crafted and balanced, not siding with any one perspective. However, all that careful buildup falls flat in the climax. How often is life truly that simple, convenient, and neatly resolved?
The film heavily relies on foreshadowing, especially through its background music, which is all over the place. One of the more compelling aspects of the story is its exploration of how narratives shape people's beliefs. If the same incident is narrated in different ways to different individuals, how many will spot the inconsistencies or question the logic?
A standout sequence shows the group’s journey to Kavantha, the summit where the road is to be built. This journey is captured beautifully, immersing viewers in the scenic beauty of Idukki. For outsiders, the film would be a shocking glimpse into the reality of life in such remote terrains. There is also a fleeting discussion about human-animal conflict, adding depth to the narrative. Paid surrogacy, which was banned in India a while ago, is also discussed without bias.
The music, particularly the track Kannetha Doorath, leaves a strong impression. Gopi Sundar has done a commendable job. Themes like the bond between women—one where they support and understand each other even in the face of harshness—are woven into the narrative. The film also delves into obsessive familial affection and paints a vivid picture of life in small, remote hamlets.
In terms of performances, Dileesh Pothan delivers a generally stable portrayal of Stephen but crosses into unsettling territory in a specific scene where he confronts the grandmother and granddaughter. The intensity in this scene feels unwarranted and makes the character come across as creepy. Devadarshini shines in the first half but falters occasionally in the second. Jaffar Idukki, as the ward member, has too many grating dialogues, especially during Stephen's house introduction and the summit journey.
Overall, Am Ah had the ingredients for a compelling suspense drama but leaves much of its potential unexplored.
The story itself is well-crafted and balanced, not siding with any one perspective. However, all that careful buildup falls flat in the climax. How often is life truly that simple, convenient, and neatly resolved?
The film heavily relies on foreshadowing, especially through its background music, which is all over the place. One of the more compelling aspects of the story is its exploration of how narratives shape people's beliefs. If the same incident is narrated in different ways to different individuals, how many will spot the inconsistencies or question the logic?
A standout sequence shows the group’s journey to Kavantha, the summit where the road is to be built. This journey is captured beautifully, immersing viewers in the scenic beauty of Idukki. For outsiders, the film would be a shocking glimpse into the reality of life in such remote terrains. There is also a fleeting discussion about human-animal conflict, adding depth to the narrative. Paid surrogacy, which was banned in India a while ago, is also discussed without bias.
The music, particularly the track Kannetha Doorath, leaves a strong impression. Gopi Sundar has done a commendable job. Themes like the bond between women—one where they support and understand each other even in the face of harshness—are woven into the narrative. The film also delves into obsessive familial affection and paints a vivid picture of life in small, remote hamlets.
In terms of performances, Dileesh Pothan delivers a generally stable portrayal of Stephen but crosses into unsettling territory in a specific scene where he confronts the grandmother and granddaughter. The intensity in this scene feels unwarranted and makes the character come across as creepy. Devadarshini shines in the first half but falters occasionally in the second. Jaffar Idukki, as the ward member, has too many grating dialogues, especially during Stephen's house introduction and the summit journey.
Overall, Am Ah had the ingredients for a compelling suspense drama but leaves much of its potential unexplored.
