On the off chance that you are watching C U Soon, Mahesh Narayanan’s exploratory new film, on a PC screen with various tabs open, odds are that you may be somewhat befuddled by what’s happening in the film. The entire story is told through screens, all things considered. Work area screens, visit windows, web-based media, and letterboxes continue passing by and on the off chance that you resemble me, you’d tingle to connect with the mouse and close all the windows without a moment’s delay. In any case, this isn’t your PC screen, it is the screen of the characters in the film – Kevin’s, Jimmy’s, and Anu’s screens. That is Fahadh Faasil, Roshan Mathew, and Darshana Rajendran, playing these characters.
Confounded? You needn’t be. Notwithstanding the flitting interruptions, Mahesh Narayanan, who composed and coordinated the film, figures out how to recount to a drawing in the story, taking all your regard for the happenings on the screens. It is the principal such film in Malayalam and is currently web-based on Amazon Prime Video. Malayalam film is experiencing a wide range of firsts in these days of the COVID-19 pandemic when limitations have constrained new sorts of shootings, narrating, and film dispatches.
Be that as it may, the entertainers of C U Soon appear to have adjusted rather rapidly to the new structure. Acting and emoting, taking a gander at a face on the screen, doesn’t seem to have irritated them much. You watch Roshan, playing Jimmy, happily turning on his office PC and looking through Tinder, the dating application, to see female profiles. You need to consider what sort of office this is if just to go after a position there. The day we watch Jimmy’s Tinder, he hears the ‘boing’ sound of finding ‘a match’. On the screen is Darshana’s face showing up under a profile named Anu Sebastian, living in Dubai.
Jimmy, we understand soon, is a person who races into things. He sees a profile he loves, begins a discussion the following second, and continuously line requests a video call. Anu sees it as well: thaan ellaam valare pettennanallo (you move too fast). While you envision Jimmy as the average youthful person who continues falling all through affection, you take a gander at Anu and miracle what she resembles. For what reason would she say she is under the bedsheet, murmuring, and consistently in the limits of her room? Is she not well, you wonder. There is none of the Dubai fabulousness in her life. She appears to be cheerfully taking a gander at the line of old family photographs hanging down in the room and talking bashfully with Jimmy.
‘Fast’ Jimmy sits tight for seven days before he proposes to Anu, dialing in his mom (Maala Parvathi) and cousin (Vaishnavi Venugopal) to join the call. “Truly, will you wed me?” Anu later asks him, puzzled. Is that what she is pondering about, you think. Not, “what do you mean, wed, we haven’t seen one another, overlook understanding anything about me!”
That is one consistent about the film – the speed. Everything must be snappy – the reactions to the visit pings, the responses to the calls, the read-receipts. There is no space for the postponement in this immediately recounted to a story that brings out the sentiment, puzzle, and a more profound issue in one-and-a-half hours.
Fahadh (as Kevin) joins the screens not long after Jimmy’s match finding. It is from him, Jimmy’s cousin with a cutting edge sneak work, that you understand this is a propensity for Jimmy – “Ya, this week, it’s her,” Kevin prods. Be that as it may, Jimmy claims he is not kidding. So Kevin is given the activity of nosing around to see whether the lady is good for Jimmy by the last’s mom. Kevin, experiencing self-absorbed dissatisfactions at his particular employment, contending with a lady (Amalda Liz), wraps up his exploration soon enough, and tells his auntie, Anu is all acceptable.
Yet, in the following video call they have, Jimmy sees Anu crying, a major injury on her cheeks. She is that day strangely wearing cosmetics and inquires as to whether he could come and remove her.
The manner in which Anu’s character is developed, it isn’t actually out of nowhere, the crying, and the injury. While you see the environmental factors of Jimmy and Kevin, the individuals strolling by on their screens, you think minimal about the baffling Anu. Just for lovestruck Jimmy, nothing appears to be wrong – like the way that while she has online media accounts, she has no SIM card.
From the snapshot of the SOS call, the sweet universe of being a tease and sentiment is broken. It’s currently layers and layers of a more profound story that you watch disentangle with Kevin. While you are generally centered around the appropriate responses, you are likewise shaken by fears of how much an outsider could delve into your life. Every one of those accounts of Cambridge Analytica and innovation being the undetectable government operative in your life become genuine on the screen. Fahadh plays this person so well that all you see on the screen is a tech fellow at work until a second comes when he acts out unobtrusively to a noteworthy video. There you glimpse the Fahadh you are utilized to, the man who lets his enormous eyes do the talking.
Roshan effectively fits into the shoes of the new age coy person while Darshana, up to this point found in films playing generally companion of-the-courageous woman jobs, deals with the greater part of the feelings. It is difficult, and on occasion, the crying may appear to be very a lot to take. However, Anu’s life isn’t one we envision it to be and Darshana makes it awfully genuine for you.
Obviously, the screens wouldn’t recount to the story without anyone else. Separate windows on isolated screens of the apparent multitude of characters must be carefully assembled to tell a fitting story. It ought to likewise not be excessively entangled and befuddle the normal watcher about what’s happening. Mahesh, who is notable for his altering aptitudes, has splendidly made a smooth account with insignificant discoursed, all the screens merging to unwind the secret.
While the music for such films helps, Gopi Sunder’s score regularly sounds strange, taking your concentration off the screens you have been focusing on – in case you miss a line of talk that bodes well. There are these and other minor defects you do see yet can hide away from plain view, considering the originality of the structure and how much work has clearly gone into it.
Disclaimer: This review was not paid for or commissioned by anybody related to the film. Neither Southern Express nor any of its analysts have such a business relationship with the film’s makers or some other individuals from its cast and team.