Tovino
Thomas’
big
budget
action
entertainer
is
a
tonally
inconsistent
watch
that
keeps
you
hooked,
observes
Arjun
Menon.
Nothing
is
what
it
seems
like
in
Identity.
This
unfortunately
is
a
bug,
rather
than
a
feature
of
this
abrasive
tentpole
outing.
Featuring
Tovino
Thomas
and
Trisha,
this
is
a
fairly
competent
thriller
that
muddies
its
potential
because
of
its
untidy
presentation.
Identity
is
a
film
of
big
swings
that
aims
for
the
stars
and
rightfully
so.
But
the
swerve
of
the
subject
matter
is
not
matched
by
the
lowkey,
arbitrary
filmmaking
strokes.
The
film
starts
by
showing
us
a
child
prodigy,
whose
attention
to
detail
and
orderly
conduct
is
a
tragic
aftermath
of
his
dead
father’s
unhealthy
and
scrutinising
upbringing.
The
way
the
critical
exposition
about
the
protagonist
and
his
complicated
OCD
tendencies,
and
intricate
family
dynamic
is
delivered
to
us
by
Dr
Sudharsan
(Shammi
Thilakan)
reeks
of
overt
writing.
Like
in
their
previous
collaboration,
the
directing
duo
composed
of
Akhil
Paul
and
Anas
Khan
are
concerned
with
superficial
details
that
accumulate
over
the
running
time
to
pose
a
kaleidoscopic
revelation
by
way
of
hidden,
smudged-off,
and
concealed
facts
of
the
screenplay.
But
unlike
their
first
collaboration
Forensic
(also
headlined
by
Tovino),
Identity‘s
ambition
sometimes
overpowers
its
narrative
aspirations
by
cramming
too
many
ideas.
There
is
a
solid
action
romp
here
somewhere
that
is
undercut
by
the
over-plotting
and
piled-on
contrivances
aimed
at
shock
value.
Identity
follows
star
witness
Alisha
Abdul
Salam
(Trisha)
suffering
from
a
rare
neurological
disorder
that
prevents
her
from
registering
human
faces.
Things
get
complicated
due
to
her
peculiar
condition
and
her
inability
to
recall
any
human
face.
This,
like
many
other
facets
of
Akhil
Paul’s
and
Anas
Khan’s
densely
packed
screenplay,
is
a
juicy
idea
on
paper
but
the
complicated
back
and
forth
and
over-reliance
on
stale
exposition
sequences,
delivered
with
a
snappy
musicality
by
Dr
Sudharsan
exposes
the
heavy-handed
approach
of
filmmaking.
Like
with
the
writing,
the
simplification
of
complex
ideas
can
be
best
demonstrated
through
the
scene
where
a
sexual
assault
survivor
taking
a
bungee
jump
is
equated
with
‘moving
on’.
It’s
a
bit
reductive,
no?
This
sort
of
simplified,
convenient
intercutting
and
shorthand
makes
it
a
bumpy
ride
and
you
get
a
plausible
murder
attempt
onboard
a
flight,
and
a
witness
protection
programme
thrown
into
the
mix,
with
varying
levels
of
effectiveness
in
execution.
For
instance,
there
is
a
particular
reveal
of
Tovino’s
character
that
we
get
from
a
randomly
cast
Mandira
Bedi.
The
writing,
staging,
and
editing
in
that
sequence
belong
in
an
entirely
different
film
and
you
see
the
inherent
tension
between
the
need
to
please
and
overwhelm
take
over
with
fast-paced
cuts
that
try
to
inject
some
thrills
into
an
otherwise
routine
action
block.
Identity
flaunts
its
elementary
script
ideas
and
this
tendency
of
over-emphasis
drains
the
film
of
any
impact
that
could
have
been
derived
from
a
more
withholding,
restrained
delivery
mechanism.
The
three-way
relationship
between
a
witness,
a
sketch
artist
Haran
(Tovino
Thomas),
and
a
determined
cop
Allen
Jacob
(Vinay
Rai)
is
an
interesting
upending
of
the
general
‘two
men
butting
heads’
trope.
There
is
a
stately
slickness
to
the
proceedings
that
paint
a
sharp
contrast
with
the
pulpy
sensibility
of
the
material.
Akhil
George’s
lensing
lends
the
film
a
sense
of
heightened
prestige
and
sheen
that
is
lacking
in
the
material.
The
widescreen,
well-lit
sequence
elevates
the
workman-like
script
into
a
work
of
visual
grandeur
that
gives
off
the
vibes
of
an
international
production.
The
pulsating
score
by
Jakes
Bejoy
is
omnipresent
and
sometimes
hijacks
the
drama
and
keeps
you
hooked.
Tovino
Thomas
is
highly
effective
as
the
withdrawn,
stoic
protagonist.
He
is
not
given
much
to
work
with
and
the
constant
shifts
in
the
tone
and
scope
of
his
character
motivation
begins
to
crumble.
But
his
impeccable
screen
presence
enhances
even
the
most
clumsy
line
readings.
The
actor’s
conviction
in
pulling
off
some
of
the
most
random,
galaxy-brained
writing
choices
lends
credibility
to
the
film’s
momentum.
Vinay
Rai
gets
to
practice
restraint
without
overdoing
his
part.
He
walks
away
with
a
performance
which
is
markedly
different
from
the
‘industrialist
villain’
archetype
he
has
been
restricted
to
in
other
industries.
Trisha
is
stuck
in
a
thankless
part
that
is
more
of
a
narrative
shorthand
to
facilitate
the
peculiarities
of
the
drama.
Identity
maintains
a
facade
of
austerity,
without
being
bold
enough
to
embrace
the
associated
silliness
of
this
brand
of
mainstream
potboilers.
The
rigidity
and
tameness
in
form
lend
the
shocking
revelations,
reversals
and
red
herrings
largely
muted
as
the
ever-shifting
stylistic
choices
are
too
much
to
keep
track
of.
I
was
reminded
of
what
a
more
adventurous
filmmaker
would
have
been
able
to
pull
off
with
such
heightened
drama
and
preposterous
twists.
One
could
sense
the
affectations
of
a
Face
Off
(1997)
period
John
Woo
material,
rendered
through
the
lens
of
a
Renny
Harlin
actioner
that
don’t
take
itself
too
seriously.
Great
swings
don’t
equate
to
quality,
but
in
the
case
of
Identity,
it
is
a
sufficiently
fun
time
at
the
movies.
Identity
Review
Rediff
Rating:
