Sriram Raghavan's Merry Christmas—based on Frédéric Dard's Bird in a Cage—is about dual identities, scheming, plotting, cold-blooded revenge, and the extent to which one goes to protect their loved ones.
Headlined by Katrina Kaif-Vijay Sethupathi, the slow-burn thriller is soaked in nostalgic imagery, rapidly painting pictures of an era gone by.
It's engaging and electric, but due to a some what drudged execution/screenplay, not flawless.
This is what happens in 'Merry Christmas'
The film—which stays completely loyal to its literary source about 90% (Raghavan adds scenes of his own after the proverbial big twist)—is about Maria (Kaif) and Albert's (Sethupathi) escapades on Christmas Eve.
Two people brought together as much by destiny as by choice, they spark an immediate friendship—even hinting at a possible romance—until Maria's husband Jerome is found "murdered" and everything goes haywire.
Keep an eye out for the frames
The cornerstone of Raghavan's films are their detailing, blink-and-you-miss-it clues and easter eggs, and world-building (the lattermost is the most solid aspect of MC).
Much of the action takes place in the same locations—the church, the community Christmas fair, Maria's home, and her elevator (watch it closely!).
In a way, they are drilled into the viewers' minds—we also inadvertently become the characters' alibi.
The film does justice to the novel
Having read the novel, I knew the ride I was in for, and everything unfolded almost exactly as I had visualized while reading Dard's words.
In that sense, Raghavan remains totally faithful to Dard, and several scenes are brought to life by Sethupathi-Kaif's crackling chemistry and genuine glitters of friendship.
She exemplifies enigma, and so does he; he's a mystery, and so is she
Its nostalgic imagery draws you in
MC relies heavily on nostalgic imagery (Amitabh Bachchan's '70s era cutout, weighing machine on the railway station, and landline phones, etc., become a part of this world).
A particularly smart sequence occurs when Albert-Maria go to the theater to watch Pinnochio; it's his favorite film, he says.
A story about an infamous liar is his favorite?
You already know what you need to know.
Secondary characters and the actors playing them
Radhika Apte appears for only a few scenes (her character, Rosie, is central to Albert's story but belongs in the past), but hands in such a committed performance that you begin to miss her the moment she exits the screen.
Sanjay Kapoor is a good addition, though he feels underutilized, and Vinay Pathak and Ashwini Kalsekar leave an impression despite their short screentime.
Jazz music and playing with shadows
The film leverages a lot of jazz music and film noir techniques, and the former is a recurring aspect almost throughout the movie.
Raghavan is a huge Alfred Hitchcock, noir, and classic thriller films fan, so it's unsurprising that he plays with lightness and darkness in several sequences (both literal and metaphorical).
MC hides its mysteries well, and then, lets the skeletons tumble out.
Issues with 'MC': It feels needlessly long
However, MC isn't able to hide its weaknesses for long, and they swim to the surface every now and then, especially in the first half.
The film hits a snag in the scenes when Maria-Albert discuss their past lives, and you begin to desperately wish for some—any—action onscreen.
It's this drudgery that stops it from being top-notch; the film feels longer than it is.
The climax feels somewhat stretched and dissatisfying
Slow-burn thrillers are risky territory—your attention begins wavering, and you seek answers desperately.
Thrillers like these, thus, become much more enjoyable when they move with the speed of a tracer bullet.
With MC's story, it could have worked so much better with a 90-minute runtime, ideally sans an interval.
Ironically, despite being almost two-and-a-half hours long, its final payoff seems a little underwhelming.
Final verdict: Watch it in the theaters!
I would certainly recommend you read BIAC and check out the similarities and differences between the two narratives.
Sethupathi-Kaif hold the narrative together and the supporting cast crackles with talent and flamboyance; eventually, if Merry Christmas thrives despite its problems, it's due to the amount of talent that overtakes the screen.
A film about labyrinths delivered with passion, Merry Christmas receives 3/5.
