Some films inadvertently craft scenes or dialogues that might mislead the audience into expecting something more than what the movie eventually delivers. An early scene in Nadirshah’s “Once Upon a Time in Kochi” features the distinctive voice of Jaffer Idukki providing a detailed, almost poetic narration about the dark underbelly of a city. However, this cinematic moment is abruptly interrupted by a policeman’s straightforward questioning — “Are you a writer to give such an elaborate description? Stick just to the events of that night.” This scene, seemingly written by someone aware of the film’s limitations, offers hope for a clever and engaging narrative. Unfortunately, for the remainder of the film’s runtime, the audience is left grappling with a storyline that takes itself too seriously, despite the inherent absurdities of the depicted drug cartel drama.
Young police officer Anand Das, portrayed by Arjun Ashokan, disappears while closing in on a notorious drug racket, setting off an intensive police search. Concurrently, the film introduces the characters of Hibi (Mubin M. Rafi) and Janaki (Devika Sanjay). Both characters harbor dreams of emigrating for a better life but find themselves ensnared in dubious dealings. Despite a premise rife with potential, the writer Rafi’s script fails to capitalize on this setup, delivering instead a sequence of events that neither engage nor entertain.
Director Nadirshah, known for a slew of mildly entertaining films with problematic undertones, veers slightly from his usual formula in “Once Upon a Time in Kochi.” This time, he opts for a seemingly serious tone from the outset but sprinkles in half-hearted attempts at humor that fall flat. Instead of a tight, thrilling narrative or a laugh-out-loud comedy, the film plods along, unable to hold the viewer’s interest. The characters are uniformly one-dimensional, rendering emotional investment nearly impossible.
The central love story, pivotal to the narrative, is introduced and developed without conviction. An exception is a scene where the police officer’s detective instincts come alive during a traditional ‘pennu kaanal’ meeting. Here, he mistakes talcum powder for cocaine, an amusing albeit brief respite in the otherwise dragging plot. Furthermore, Anand’s frustration at being overshadowed by his superior officer, who basks in media glory for Anand’s hard-earned achievements, adds a layer to his character that, unfortunately, goes undeveloped. Similarly, his personal vendetta against the drug mafia holds promise but is quickly squandered.
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As the film progresses, it attempts to leverage nostalgic references, like the Romancham’s background score and Arjun Ashokan’s expressions from that film. This tactic, presumably a last-ditch effort to maintain audience interest, backfires due to its insincerity and lack of contextual relevance. This thinly veiled attempt at nostalgia only underscores the half-baked nature of the project.
Critically, “Once Upon a Time in Kochi” fails to balance its dual attempt at comedy and thriller. None of its comedic elements evoke genuine laughter, and its thrilling components are devoid of suspense. What remains is a lackluster product that neither entertains nor intrigues.
Nadirshah’s previous works, while questionably messaged, at least managed to engage to some degree. Here, the engagement factor is glaringly absent. The dialogue lacks wit, the plot twists are predictable, and the characters never rise above their clichéd depictions.
The supporting cast, including Mubin M. Rafi and Devika Sanjay, have moments that hint at deeper layers but are ultimately let down by the superficial script. The film’s technical elements, such as cinematography and background score, are competent but do little to elevate the overall experience.
In the end, “Once Upon a Time in Kochi” is a forgettable endeavor. Its ambitions to craft a semi-gripping narrative with comedic relief fall short due to inconsistent writing and lack of character development. What could have been a satirical take on crime and police procedural dramas ends up as a monotonous recounting with fleeting moments of potential overshadowed by mediocrity.
For viewers seeking thrilling drama or clever comedy, this film may disappoint. “Once Upon a Time in Kochi” serves as a reminder that a promising premise and a few clever scenes do not necessarily culminate in a successful film. Despite its efforts, it remains a testament to missed opportunities and unfulfilled potential.
Currently, “Once Upon a Time in Kochi” can be viewed in theaters, but prepare for an experience that hopes to be more than it ultimately is: a film that promises much but delivers little.
