Akhil Paul and Anas Khan, the director-writer team, put a lot of effort on Identity. Even though each concept isn't fully addressed on its own, the movie is nevertheless compelling to watch.
Identity begins as a movie about Haran Shankar (Tovino Thomas), a young man who suffers from obsessive-compulsive disorder and is a perfectionist as a result of his violent father. We anticipate that the movie will be about this quirky character cracking cases, but instead we are thrust into the narrative of a serial rapist who uses the footage of his crimes to blackmail his victims. When we believe it will be about apprehending this criminal, he is killed by an unidentified someone, and we immediately recognize who it is. The crime's witness, Alisha (Trisha), contracts a strange illness known as prosopagnosia, or face blindness.We now settle for a concept movie about a person who is face blind and works with Haran, who is also a skilled sketch artist (thanks to his mother), to attempt and identify the murderer. However, no. That is not identity. Every twenty minutes, it keeps changing into a new movie. In a compelling flight scenario, Haran attempts to prevent a crash. An entertaining Bond-esque battle scene aboard a private jet is also included later. Identity is obviously experiencing an identity crisis.
Identity has a lot of excellent concepts. Every one of the several plots may stand alone as a movie. A full-length feature film may be made out of the complete climactic scene in which Haran tries to identify an unidentified assassin in the plane. The script of directors Akhil Paul and Anas Khan is succinct and accomplishes a lot in a short amount of time. Similarly, Alisha's storyline alone would be enough for a film. It is immediately captivating to consider that someone who is face blind could be able to identify a murderer. Despite her promise, Alisha is instead relegated to a supporting position and treated as a tool. None of these concepts are examined to the fullest extent possible. Rather, the director makes advantage of them to keep things going.
Identity has a lot of excellent concepts. Every one of the several plots may stand alone as a movie. A full-length feature film may be made out of the complete climactic scene in which Haran tries to identify an unidentified assassin in the plane. The script of directors Akhil Paul and Anas Khan is succinct and accomplishes a lot in a short amount of time. Similarly, Alisha's storyline alone would be enough for a film. It is immediately captivating to consider that someone who is face blind could be able to identify a murderer. Despite her promise, Alisha is instead relegated to a supporting position and treated as a tool. None of these concepts are examined to the fullest extent possible. Rather, the director makes advantage of them to keep things going.
Things are also forced because of the overabundance of ideas. Haran suffers from an obsessive-compulsive disorder. Next up is Alisha. Another character is likewise playing a ruse. Identity is overflowing with coincidences and marvels. Another significant plot point that stands out and detracts from the amusement is the fact that all of the main characters in a murder mystery keep ending up in the same locations.
However, the filmmakers use a tactic—withholding information—to conceal these flaws. In order to make us forget the clichés, the filmmakers use gimmicky editing techniques and a brilliant storyline that left us wondering "why" anything is occurring. For example, we don't know what Alisha was doing there; we just know she is a witness. We can tell that Haran has a hidden room in his home, but we're not sure why. Identity does turn out to be a fun movie when everything is finally resolved, but it's a phony one. However, it is admirable that Akhil Paul and Anas Khan respect the audience and expect them to comprehend even when things are a little confusing, especially in an era where directors are determined to explain things with sluggish expositions.
Despite its shortcomings, Identity maintains the viewer's interest with its captivating narrative, compelling performances by Tovino Thomas and Vinay, and surprising (although fabricated) turns. With Tovino's Haran, it's easy to say that the creators have created an intriguing figure. Although there isn't a plot point for a sequel, it would be intriguing to see Haran on another crime-solving assignment in contrast to the numerous unnecessary sequels.
However, the filmmakers use a tactic—withholding information—to conceal these flaws. In order to make us forget the clichés, the filmmakers use gimmicky editing techniques and a brilliant storyline that left us wondering "why" anything is occurring. For example, we don't know what Alisha was doing there; we just know she is a witness. We can tell that Haran has a hidden room in his home, but we're not sure why. Identity does turn out to be a fun movie when everything is finally resolved, but it's a phony one. However, it is admirable that Akhil Paul and Anas Khan respect the audience and expect them to comprehend even when things are a little confusing, especially in an era where directors are determined to explain things with sluggish expositions.
Despite its shortcomings, Identity maintains the viewer's interest with its captivating narrative, compelling performances by Tovino Thomas and Vinay, and surprising (although fabricated) turns. With Tovino's Haran, it's easy to say that the creators have created an intriguing figure. Although there isn't a plot point for a sequel, it would be intriguing to see Haran on another crime-solving assignment in contrast to the numerous unnecessary sequels.
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