12th man movie review malayalam

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Eleven friends get together for a bachelor party, but the celebrations go awry because of a phone call and a death. A drunk cop steps into unravel the mystery. Eleven friends get together for a bachelor party, but the celebrations go awry because of a phone call and a death. A drunk cop steps into unravel the mystery. Eleven friends get together for a bachelor party, but the celebrations go awry because of a phone call and a death. A drunk cop steps into unravel the mystery.

• Jeethu Joseph
• Sunir Kheterpal
• K.R. Krishna Kumar
• Shivada Nair
• Chandhunadh
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• Crazy credits Many Amazing Seemless transitions can be seen in the second half.
• Soundtracks Celebrate Written by Vinayak Sasikumar Produced by Anil Johnson Performed by Souparnika Rajagopal

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• Runtime 2 hours 43 minutes

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12th Man Movie Review (2022)

The new mohanlal-jeethu joseph thriller, '12th man', on disney+ hotstar is talky and dull.

12th Man Movie Cast & Crew

Jeethu Joseph's 12th Man opens with a secret that quickly is told to someone, who tells it to someone else, and so on – until the secret is no longer a secret. The film's centrepiece is a woman’s death, which leads to more secrets. That's why there's a subtitle: Unveiling the Shadows . The 11 characters are a group of very close friends. But how close is "close"? And how do you define a "friend"? Are friends just people who meet at Diwali parties and go to resorts during vacations, like in this movie? Or are they people who genuinely help each other when in need? Do they make sacrifices even if it means that their reputation takes a hit? Don't worry. 12th Man isn't an existential study. But it does make you wonder how this group of friends has remained friends all this time. If only they knew at the beginning what they know about one another at the end!

The film is an Agatha Christie-style mystery, where Mohanlal plays Hercule Poirot. In those books, it is only at the end that Poirot gathers everyone together and announces his deductions by leaping from one possible suspect to another. Here, Mohanlal's entire investigation is conducted at a Last Supper -like table with everyone being a suspect at some point, and everyone revealing a secret at some point. I wondered who in their sane mind – I mean, people who have serious secrets – would agree to a game where everyone around gets to listen to their phone calls and read their messages. That is what sets off the crime. I also wondered why they wasted some 45 minutes trying to make us think Mohanlal is some kind of drunkard-buffoon. Flab is the enemy of a tense thriller, and without that huge opening portion, we might have been left with a more watchable movie.

12th Man is not unwatchable, exactly. And you cannot expect constant sixers from the Mohanlal-Jeethu Joseph combination. But the film is talky and dull. It is filled with reaction shots and a needlessly showy technique that morphs locations. None of the characters are terribly interesting, so it never matters who the culprit is going to be. But most importantly, none of the revelations have that oh-wow feeling. I kept hoping that the explanation for the death had better be good, given how many red herrings we are being fed. But the ending doesn't have that oh-wow quality either. The real culprit is the screenplay. The lack of serious effort really shows. Mohanlal can do these roles in his sleep, but crime-film writers have to be constantly awake, no?

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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12th Man movie review: Team Drishyam returns with a McDonald’s-style take on Agatha Christie whodunnits

Jeethu Joseph’s new film 12th Man takes off with some promise, but ends up as ordinary despite its credentials and cast.

Language: Malayalam

A team-up between actor Mohanlal and director Jeethu Joseph will forever more carry with it a burden of high expectations. The two, after all, made the 2013 blockbuster Drishyam that not only broke theatrical records among traditional Malayalam film viewers but also drew nationwide attention and spawned remakes from several Indian film industries. By the time Drishyam 2 came around, India was deep into the OTT era and fell in love with this sequel in its original language itself, making it one of the most-talked-about releases of the pandemic.   

Though Drishyam bore a resemblance to a Japanese literary thriller, Jeethu denied having read it before his script was ready and said that he was inspired by a real-life incident. The film’s appeal extended way beyond the murder and cover-up at its centre anyway. Drishyam ’s strength lay in the localisation of an enthralling mystery the basics of which could be transported to any country on the globe, its entertaining realism, socio-cultural insights, sense of humour, intricate characterisation and the very human tale of two families in distress.   

As a diehard Agatha Christie buff, I confess I had mixed feelings when I heard of Jeethu’s new collaboration with Lalettan . The director likened 12 __ th Man: Unveiling The Shadows to the great British crime novelist’s works while informing the press that it is a saga of 12 people gathered at one place and unfolds largely over the course of one day. The trailer further disclosed these ingredients: 11 friends, multiple secrets, an intruder (the 12 th man of the title), night-time, a sudden death. Uh oh…   

It’s one thing to forgive a solitary instance of ‘inspiration’, but did this new venture indicate a bankruptcy of the imagination ? Or would Jeethu, as with Drishyam , refashion a core idea into a brilliant, thoroughly Indian adaptation?   

Now that 12 __ th Man is out, it can be said with clarity that it is not a Christie copy, it simply pays tribute to a structure she was fond of: a group of people compelled to stay on at a place where there has been a mystifying death, and a detective holding court. How Jeethu and the writers, Sunir Kheterpal (credited for the story) and K.R. Krishnakumar (screenplay and dialogues), build on that kernel is the question to now be examined.   

In 12 __ th Man , 11 youngsters – friends from college and their spouses – meet for a celebration at a mountain resort in the remote, gorgeous Kerala countryside when an offensive stranger (Mohanlal) disrupts their peace. Shortly thereafter, fun and banter devolve into a game between the friends that threatens to destroy ties nurtured over a period of many years.   

As tensions explode in their faces, a tragic death occurs. During the course of the investigation that lasts through the night, several terrible truths are unveiled.

12 __ th Man ’s first hour is engaging as it becomes clearer and clearer with each passing minute that there is plenty lying buried beneath the apparent bonding between these supposed buddies. Krishnakumar’s writing is on solid ground while he portrays the game between the friends kicking off in a natural, believable fashion, and how each is compelled to join in – and stay in – although one by one they all become uncomfortable with it.   

The maiden revelation comes from a smoothly written, unexpected turn of events. The rapid unravelling of the bonhomie among the gathering is well written and directed.   

After the death at the resort, you might wonder why the friends allow themselves to be subjected to a probe that is often extra-legal (they grant the investigator access to their phones and don’t object to intimidation), but there is a credible explanation: they each have personal, professional and/or financial compulsions to return to the city immediately, hence they are in a rush to get this over and done with. Besides, the detective is playing on their psychology that was also at work during their party game – each person is likely to be afraid of opting out, for fear of raising suspicion among the others that she/he alone has something to hide; some think they are smart enough to outwit the rest.

With the premise firmly established, Mohanlal in full flow as the annoying intruder in this assembly, and a cast of dependable, likeable, well-known younger actors playing the friends, 12 __ th Man should have aced its second act. Instead, the proceedings become progressively less absorbing due to various factors.   

The script does not spend much time on character development. As a result, the audience is given little reason to invest in any of these people or their fate. The entire ensemble need not necessarily have been written in detail, but here none of them are. The only one who is set apart from the others in a very obvious way is Fida (played by Leona Lishoy) who is a stereotype of the smart, independent single woman as seen through a conservative Indian gaze more common in Hindi than Malayalam cinema: she is a divorcee, and her smoking habit is pointedly highlighted. I could almost imagine a list of descriptors for each of the 11 at the concept stage in which Fida was labelled “the modern type”. Couple that with a stray remark about Mohanlal’s character Chandrashekhar’s singleton status, and you have to know that this is not a conscious portrayal of social prejudice in Malayali/Indian society by the writers, but their own subconscious prejudice revealing itself.

Though the initial twists in 12 __ th Man have considerable surprise value, each turn of events in the second half is less compelling than the previous one.   

Beyond its whodunnit aspect, 12 __ th Man lacks the sociological and cultural detailing that enriched Drishyam. For a start, the Drishyams would have been half the films they were without that chaaya kada , Georgekutty’s craze for Malayalam cinema, the distinctive architecture of those homes and  those colourful locals. In contrast, the friends in 12th Man could be from any city in Kerala; frankly, they could be Malayalis from any large Indian city; and apart from the fact that they speak Malayalam, there is nothing to particularly distinguish them from any well-off, urban, urbane Indian from any Indian metropolis.   

Jeethu here also does that thing that too many contemporary Malayalam filmmakers do when they consciously design their films as products for a pan-India market rather than cinema that develops organically: the tendency is to insert a song or two with Hindi and/or English lyrics into their soundtrack as though these are the languages of universality and hipness (c’mon!). These numbers are almost always incongruous with their setting.   

12 __ th Man begins and ends with an English composition by Anil Johnson that is woven into innovatively arranged opening credits. Despite its prettiness and Souparnika Rajgopal’s lovely voice, the overall effect of the writing choices and the decision to feature this song in the film is that watching 12 __ th Man is like eating McDonald’s fast food on a transcontinental trip – it is standardised and hence safe for those who are not experimental, it is hygienic and low cost, and it can never give the pleasure and excitement that the diversity of flavours in world cuisine offers. This McDonald’s approach to filmmaking removes the very quality that has made the Malayalam new New Wave popular across India: rootedness that leads to universal relatability.     

It would perhaps have been wise to lower the bar of expectations early in 12 __ th Man , when a sudden burst of song at a party prompts the friends to dance, not as normal folk do in real life, but arranging themselves as though they are aware that they are characters in a film, not actual people, and must therefore face the camera and us, the audience.   

Jeethu Joseph’s new film takes off with some promise, but ends up as ordinary despite its credentials and cast (though I wonder why Siddique was wasted in a few-seconds-long appearance that adds nothing to the narrative). Everyone does a decent enough job, but no one – not even Mohanlal – stands out.

12 __ th Man is okay enough entertainment while it lasts, but “okay enough” and “decent enough” are hardly acceptable from the team that gave us the Drishyam s.

Rating: 2.5 (out of 5 stars)  

12 **** th Man is streaming on Disney+Hotstar

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial  

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Jeethu Joseph’s 12th Man review: Exploring human relationships through the maze of an investigation

Man is not what he thinks, but what he hides, some say. Jeethu Joseph’s 12th Man -- which unveils the tough dynamics of human relationships through a group of supposedly close-knit people and an unforeseen situation they end up in -– tries to lay bare cold realities of relationships. The group is apparently totally unprepared for the experience.

Six women and five men, who were collegemates, get together at a resort to celebrate one of their upcoming weddings. Things take a sour turn when they inadvertently start playing a risky game, that ends up revealing ‘classified information’ about many of their lives.

Meanwhile, a drunk man at the resort also keep annoying them from time to time. What then?

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Formatting an interrogation scene in a film is no cakewalk and that too avoiding clichés. 12th Man deserves applause for trying to tell a major share of the story through an interestingly structured police interrogation sequence, filling it with simple yet intriguing dialogues, expressions and a tad dramatic flashback.

The screenplay by K R Krishna Kumar for the story by Sunir Khetarpal offers no special set-ups or dim lights, though you perhaps notice the overall ‘resort atmosphere’ was a bit eerie from the beginning. Neverthless, the film shows how basic, sensible questions from someone can make respondents crumble under pressure, especially while trying to hide behind a veil.

The story neither has easily confessing suspects nor power dynamics in play. But still, the scenes are tense and engaging for most parts for a viewer to be patient enough to wait till the culprit is unravelled through a labyrinth of lies.

Yes, there are stretches where you get impatient wondering how long the probe will latch on to certain ‘possibilities’ or ‘twists,’ but overall, the storytelling conjures up a decent tale of investigation.

The characters can’t be rated as too challenging for any of the actors essaying them in 12th Man. Regardless, each of their subtle performances add to the excitement and shock value of the revelations.

The BGM gives a sense of mystery to the story in most places, but there are also certain junctures where it goes slightly over-the-top.

Considering the number of characters, their convoluted equations and histories, at times you lose track of who is who, unless you are thoroughly attentive.

12th Man is not a typical fun watch, for it demands a bit of your concentration. However, those who love investigation thrillers and unearthing twisted crime stories can enjoy the film without a doubt.

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12th Man Review - A watchable whodunit that hardly thrills!

Published date : 21/may/2022.

12 th  Man – A watchable whodunit that hardly thrills!

Bharath Vijayakumar

In a way, 12 th  Man is the right opposite of Drishyam from the Jeethu Joseph-Mohanlal duo. If Drishyam had Mohanlal making elaborate plans to get away from cops, here he plays a cop who has to solve a case. If you are going to get into comparisons, 12 th  Man would pale but that would also be unfair because this is a very different film from what Drishyam was.

A group of friends with their partners get together at a resort. Eleven of them, that include five couples and one single woman to be more precise. Later that night, one of them is found to be dead and the 12 th  man (Mohanlal) enters for investigation. 12 th  Man is a focused film in that it stays true to its genre with no deviations whatsoever. Almost everything happens inside a single location with these twelve characters. But this also hurts the film badly because none of the characters evoke interest or any kind of emotion from you. While the fact that you do not know much about these individuals maybe one reason, that most of the performances are pretty ordinary adds up.

The film entirely moves like this. Each one of the characters keep revealing secrets one by one and Mohanlal has to decipher which one is true and which one is not. The problem is that there is no real tension at any point of time and nothing about the investigation makes you sit up. Everything happens so easily. When someone tells a lie, all that Mohanlal needs to do his raise his voice in a threatening tone and that is enough for that person to confess. Add to the fact that you aren’t really invested with any of the characters, what we are left with is a series of twists that keeps the film watchable but nothing that would have you glued to your seats. The final reveal too isn’t exactly great. The film feels like watching a high scoring T20 match with something happening every ball. But one in which the quality of the two teams on the field isn’t great and you aren’t really bothered about the result.

Bottom-line

A whodunit that remains focused but never really builds tension at any point of time. Watchable is the word!

Rating:  2.5/5

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‘12th Man’ review: Oversharing between friends is overrated (it can lead to murder)

Jeethu joseph’s latest collaboration with mohanlal is being streamed on disney+ hotstar..

The Jeethu Joseph-Mohanlal collaboration yielded the Malayalam blockbuster and remake generator Drishyam and its sequel . If Drishyam was about a family man building a watertight alibi for a righteous murder, 12th Man is about the contours and limits of friendship.

A group of 11 long-term friends – five couples and a single woman – have booked a resort for a few days. Each of the friends brings along emotional baggage to the vacation.

Mathew (Saiju Kurup) regrets not marrying Fida (Leona Lishoy) and worries about the spending habits of his wife Shiny (Anusree). Annie (Priyanka), the partner of the frequently unemployed Zachariah (Unni Mukundan), is pregnant.

Bank manager Sam (Rahul Madhav), married to Merin (Anu Sithara), is involved in what appears to be a shady financial transaction. The other couples are Sidharth (Anu Menon) and Arathy (Aditi Ravi) and Jithesh (Chandunath) and the doctor Nayana (Sshivada).

Nayana arguably sets the ball rolling by tattling on Annie’s pregnancy to the group even though she has been told to stay mum. The business of never keeping secrets from friends leads to a tech update on Truth and Dare, the game that is designed to lead to doom. At dinner, everyone in the group is persuaded to put incoming calls on a speakerphone and publicly reveal received messages.

Sharing has always been a bit overrated. Oversharing is definitely a disaster. As if it’s not bad enough that uncomfortable truths tumble out, the night ends with the discovery of Shiny’s dead body.

Did she kill herself or was she done in? That question is answered by Chandrashekhar (Mohanlal), a police officer who happens to be the only other guest at the resort. Chandrashekhar herds everybody into a room and proceeds to pick apart each of the alibis.

The Disney+ Hotstar release is based on a story by Sunir Kheterpal and a screenplay by KR Krishnakumar. (A vigilant Wikipedia editor has pointed out that the Truth and Dare variant is from the 2016 Italian film Perfect Strangers ).

The overall importance of smartphones and its clever use in Chandrashekhar’s investigation breathes new life into an old-fashioned murder mystery that has money and infidelity among the possible motives. Indeed, Chandrashekhar might be one of the few detectives in the world who solves a crime simply by dialling numbers and making sense of who called or messaged whom at what time.

Will you be able to speed it up, a character asks – never a good question in a Jeethu Joseph film. Viewers have to wait for every character to be introduced before the crime occurs. Once the dark deed is done, we have to warm our seats for much longer until Chandrashekhar ambles towards the truth.

Editor VS Vinayak does a fine job of cutting between shots and reactions shots in a largely sit-down narrative. Vinayak also comes up with interesting editing transitions between the flashbacks and the present – a big help during a needlessly lengthy 163-minute film.

For all its emphasis on human psychology, 12th Man is woefully low on character shading. The link drawn between Shiny’s mental state and her actions is a cheap shot in a drama that places great emphasis on grey matter.

The competently performed movie, led with typically understated elan by Mohanlal, takes too long to finally reveal the killer. It’s the kind of film in which characters dissemble minutes before the denouement. Whatever the features of the cellphones that Chandrashekhar handles in his quest for the truth, speed-dial is clearly not among them.

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

12th Man Malayalam Movie

12th Man is a 2022 Indian movie directed by Jeethu Joseph starring Mohanlal, Unni Mukundan, Sshivada and Anusree. The feature film is produced by Antony Perumbavoor and the music composed by Anil Johnson.

Awesome thriller, nobody would guess anything and where the story is going. May be considered a little lazy for the fac... Show more

Director: Jeethu Joseph Producer: Antony Perumbavoor Music Director: Anil Johnson Background Music Composer: Anil Johnson Song Lyrics Writer: Vinayak Sasikumar Cinematographer: Satheesh Kurup Editor: V. S. Vinayak Art Designer: Rajeev Kovilakam Screenplay Writer: K R Krishna Kumar

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Home » Box Office

Guruvayoorambala Nadayil Box Office Collection Day 1: Prithviraj Sukumaran’s Film Scores Big, Poised To Join Malayalam Cinema’s Winning Streak In 2024

Guruvayoorambala nadayil has surpassed manjummel boys and aavesham's opening day collections. read on.

Malayalam cinema continues its dominance in 2024 with the strong opening of Prithviraj Sukumaran and Basil Joseph’s comedy-drama Guruvayoorambala Nadayil. The film hit theatres on May 16. Find out the opening day collections of Guruvayoorambala Nadayil.

In Guruvayoorambala Nadayil , a series of unfortunate events lead a young man to marry a woman who despises him. This unexpected union plunges them into a tumultuous relationship filled with resentment and animosity. As they navigate the challenges of their unconventional marriage, they must confront their past mistakes and find a way to reconcile their differences. Amidst the chaos and misunderstandings, the film explores themes of love, loss, forgiveness, and the enduring power of family. Guruvayoorambala Nadayil features Nikhila Vimal and Anaswara Rajan as female leads.

On its opening day, Guruvayoorambala Nadayil achieved an impressive box office collection of 3.80 crore . This performance positions the Vipin Das directorial as one of the top openers for a Malayalam film in 2024.

The film has surpassed Manjummel Boys ‘ opening day collections of 3.40 crore and Aavesham ( 3.65 crore ). The Prithviraj Sukumaran film currently holds the third position in the list of the Top Five Openings of Malayalam Films in 2024.

Here’s a look at the Top 5 Openers for Malayalam films in 2024 :

1. Aadujeevitham – The Goat Life : 7.50 crore

2. Malaikottai Vaaliban: 5.70 crore

3. Guruvayoorambala Nadayil: 3.80 crore

4. Aavesham : 3.65 crore

5. Manjummel Boys: 3.40 crore

This is Prithiviraj’s second film of the year to enter the list, after Aadujeevitham—The Goat Life. Early reports indicate a positive reception from audiences, further boosting the film’s prospects. In Kerala alone, Guruvayoorambala Nadayil is estimated to have collected over 3.25 crore on its opening day.

With strong pre-release buzz and positive word-of-mouth, Guruvayoorambala Nadayil appears to be on track for a successful run. The film’s performance in the coming days will be closely watched, but initial signs point towards another box office winner for Malayalam cinema in 2024.

Note: Box office numbers are based on estimates and various sources. Numbers have not been independently verified by Koimoi.

Check out the box office collections and verdicts of Malayalam films of 2024 here .

For more stories and updates, stay tuned to Koimoi

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