Siren 108 movie review: Jayam Ravi-starrer sets up the perfect crime, but fails in narration

Director: Antony Bhagyaraj

Cast: Jayam Ravi, Keerthy Suresh, Anupama Parameswaran

In a fictional criminal world, in a murder investigation, when the pieces of the puzzle fit too easily, the investigator instinctually begins to doubt the case. They begin to wonder, has all of this been framed? Am I being handed the case on a silver platter, only to become a tool in someone else’s plan? However, the same instinct also helps investigators hone in on the criminal. They claim that this is a gut feeling, but what it really is in majority of the cases is in depth psychological and behavioural analysis. In the latest Jayam Ravi-starrer Siren 108, Keerthy Suresh plays the role of Nandini, an officer who seems to be one such investigator. However, she has been suspended from the force allegedly for killing a convict during investigation because of violent questioning methods. She claims otherwise, and the autopsy reports support her claim. However, the stain of being an alleged murderer doesn’t disappear overnight.

Now, what happens when such a cop come in contact with Thilakan Varman, a prisoner on parole who was imprisoned for allegedly murdering his wife and another man? Of course, as audience, we are aware that he is the protagonist in the film, and hence there will be a backstory that justifies his crime, or proves his innocence. However, that is what one must pay attention to. In fact, even the filmmaker is aware of the conclusion that we, as audience, would come to. Instead, what draws our attention in the film is a series of murders that takes place in the town where Thilakan lives right after he gets parole. The highlight of the plot, at least in the first half of the film remains, how these murders are committed. Not why.

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The tension is built in a steady manner before Thilakan’s past is unravelled in the latter half of the film. The unravelling is where the film falls flat, because the proceedings are easy to guess and the films depends on melodrama to keep the tension of the first half intact. The film flails in this portion, because by this time, we are not really interested in the why either. At least, I wasn’t. I wanted to know if the murderer manages to commit the perfect crime.

It is this indifference that the film evokes for the reason behind the crime that fails the film. The narrative technique that the director has opted for, unfortunately, doesn’t get us invested or rooting for the killer at all. So, in the end, what is supposed to be a victorious moment, becomes a laborious task that we have to sit through. The best crime novels, or crime films depend on how strong the push and pull effect between the predator and the prey is. However much one tries to inject this genre with a gut-wrenching back story; the crux of the plot shouldn’t have veered away from the cat-and-mouse chase. Siren 108, in this aspect, fails to strike a balance and so, it falls flat.

I wonder how the film would have looked had we learned about Jenny in bits and pieces throughout the investigation. Alas, it is something for the director to think about. What I would like to say is the interesting approach that the vigilante has towards the actor of committing crime. He tells one of his allies that intelligent serial killers get caught because of their ego — the belief that there is no chance of them getting caught. So he plans everything with the thought that he will get caught. Wouldn’t such a scary notion force him to be extra careful and ruthless in his actions?

One of the most impressive lines in the film is “Nallavanaye, Nallavana nadika vechiteengale.” Which translates to “You have made a good man, act and perform like a good man.” Initially, it seems strange, but towards the end it makes sense. If the film had focussed on this aspect of the film, maybe, it could have been an intriguing crime story.

Rating: 2 (out of 5 stars)

Siren 108 is playing in cinemas

Priyanka Sundar is a film journalist who covers films and series of different languages with a special focus on identity and gender politics.