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Monster review: This Mohanlal-starrer tests your endurance, and intelligence

Scriptwriter Udaykrishna and director Vysakh are known to play to the galleries

M-O-N-S-T-E-R.

Now that I have your attention, let’s get down to business. In fact, this is what director Vysakh, too, seems to have done when he chose this name for his latest Mohanlal-starrer. For the whole 120 minutes and a bit more, one can only guess and fail to find a sensible reason for the film’s title.

Oh, how I wish that was my only concern with the film. It is difficult to even figure out where to begin. Let’s start with the story. A Malayali-Punjabi entrepreneur Lucky Singh (Mohanlal) arrives in Kerala to finalise the sale of his flat. Bhamini (Honey Rose), who works for a she-taxi service, is tasked with picking him up from the airport. A chain of events leads Singh to become an uninvited guest into her house and family. But, as even a 10-year-old would have guessed, there’s more to Singh and others than what meets the eye.

The major flaw is right there – the script. Both scriptwriter Udaykrishna and director Vysakh are known to play to the galleries. Their last venture with Mohanlal was Pulimurugan , which was an out-and-out entertainer and a commercial success. In Monster , they have tried a different template… but one which they are not familiar with, and it shows. The initial ban on the film in Gulf countries didn’t help the film’s suspense at all. What begins as a cringefest masquerading as humour, transforms into a family drama and ends as a crime thriller, with an LGBT angle thrown in out of nowhere. To a less observant eye, the twists in the second half may offer some solace, but to others, it’s as predictable as Mohanlal’s beard now!

Which brings us to the veteran actor himself. Mohanlal has been rightly accused of repeating himself for almost half a decade now, and even more if you count out Pulimurugan . Drishyam stood out mainly for the script more than anything else. For such a talented actor, he has hardly challenged himself or stepped out of his comfort zone. He can walk in and out of a film now or one of his recent ads, without batting an eyelid, and we wouldn’t know.

Another worrying factor is how sexism has become a hallmark of his films recently – be it Aarattu or 12 th Man . Dismissing it as mere coincidence will be insulting the viewer’s intelligence. It continues in Monster as well. The first half is an assault on your senses as Mohanlal puts on a stereotypical act of a loud-mouthed and irritable Punjabi, with sexual innuendos ruling the roost. It’s high time that the actor puts his foot down and steer away from such cringeworthy dialogues, as most of his contemporaries and younger actors have done already.

The transition begins at the end of the first half, and the story finally starts moving in the second. Honey Rose has put in a commendable performance, especially as a mother and wife who is accused of a crime she has no idea about. Lakshmi Manchu packs a punch, literally. She steals the show in the otherwise absurd climax. In fact, the LGBT angle at the climax is so forced and shoddily written, explored and explained that one feels the filmmaker and the scriptwriter could have done a favour to the community, and the viewers, by not weaving it into the story at all.

Which brings us back to the title of the film. Who is the monster here? The antagonists with the peculiar reason for their evildoings? Or the one who comes to catch the monster, as the ending depicts? Who knows.

All I can tell you is when you see a monster, just run. Enough said.

Film: Monster

Language: Malayalam

Director: Vysakh

Cast: Honey Rose, Mohanlal, Lakshmi Manchu, Sudev Nair and others

Rating: 2/5

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Monster Movie Review: Stay away from the film unless you are an ardent Mohanlal fan

Monster, mohanlal's new film, is a middling thriller that fails to do justice to a bold premise. it, however, caters to those who want to watch the veteran trying something new on the big screen..

Listen to Story

• Monster features Mohanlal, Lakshmi Manchu, and Honey Rose.
• The film opened in theatres on October 21.
• Monster is directed by Vysakh.

Release Date: 21 Oct, 2022

In 2015, Mohanlal headlined Loham, one of the most talked about films of the year. While the Ranjith-directed thriller had an intriguing premise, it ended up being a missed opportunity as the screenplay featured one twist too many. Lalettan’s latest release Monster, which opened in theatres on October 21, brings back memories of that disappointing experience. The Vysakh-directed film, however, fares a bit better than Loham, mainly because of its stylish presentation and slick action scenes.

Monster revolves around Lucky Singh, a ‘Punjabi Malayali’ man, who arrives in Kerala to deal with certain personal and professional commitments. He tries to form a bond with Bhamini (Honey Rose), a She-Taxi driver/operator and invites himself to her wedding anniversary celebrations. It soon becomes clear that Lucky Singh is not who he claims to be. This sets the stage for a few revelations and confrontations.

The basic storyline has tremendous potential. It initially uses the tried-and-tested ‘simple guy with secret’ formula, which has previously been employed quite effectively in films such as Vedalam and Baashha, to take the narrative forward. Monster, however, fails to make the desired impact as the screenplay, written by Udaykrishna, is quite lacklustre.

The film begins with a series of sequences that introduce us to Bhamini and her family. While these scenes don’t offer anything remotely special, they set the stage for Mohanlal’s entry. Lalettan single-handedly carried the first half with his lively performance. The scenes revolving around his attempts at wooing Bhamini are quite enjoyable and work because of the effective comic timing. His scenes with the child artist Jess Sweejan, too have come out quite well. The first half does a good job of building a sense of mystery around Lucky Singh. It also ends on a thrilling note, giving the audience a solid reason to look forward to the second half.

The film sadly falls apart after the interval. The second plays out like an investigative thriller, at least for the most part. The interrogation scenes feel rushed. They lack the type of intensity that was seen in similar sequences in Drishyam. A series of twists in quick succession too don’t really help Monster. The film, however, tries to redeem itself by touching upon a sensitive issue towards the end. That said, it needed to be explored in a more in-depth manner.

The action sequences have been filmed quite stylishly. They should appeal to those who liked the ones featured in Vysakh’s 2019 actioner Madhura Raja. These scenes are, either way, much more convincing than the ones featured in the forgettable Laila O Laila.

Coming to the performances, Mohanlal is the heart and soul of Monster. Lucky Singh could so easily have been reduced to a caricature. This, fortunately, doesn’t happen as Lalettan brings his quirky antics to life on the big screen without being too over-the-top.

Honey Rose is burdened with a one-dimensional character. She deserved better. Lakshmi Manchu makes her presence felt despite the limited screen time. Her intense body language helps her do justice to a key action scene. The likes of Sudev Nair, Siddique and KB. Ganesh Kumar are decent in small supporting roles.

Satheesh Kurup’s cinematography is one of the strong points of Monster. It gives the film a distinctly rich look and feel. The Ghoom Ghoom track, composed by Deepak Dev, isn’t a particularly catchy one. It, however, blends with the narrative.

To conclude, Monster isn’t really Mohanlal's best work by any stretch of the imagination. It, however, may have just about enough to satisfy the veteran star’s ardent fans.

We are going with 2.5 stars out of 5 for Monster. Published By: Anindita Mukhopadhyay Published On: Oct 22, 2022 --- ENDS ---

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Mohanlal-Vysakh duo's 'Monster': A thriller that rains twists

Malayalam's tryst with Punjabi costumes aren't new. So when Mohanlal-starrer Monster, written by Uday Krishna and directed by Vysakh, opens to the vibrant and garrulous Lucky Singh's (Mohanlal) ‘belle belle’ and the turban, the eager audience is quite at home.

Bhamini (Honey Rose) is a She Taxi driver who picks up Lucky Singh on his arrival at the airport. Lucky Singh has a few things to sort out in Kerala and catch the flight back in the evening. 

The Malayali-Sardarji insists on Bhamini's presence with him, which the latter agrees to reluctantly, despite it being her first wedding anniversary and she has to be with her husband. 

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Lucky Singh is adamant and gatecrashes into their personal space, befriends their five-year-old daughter and the nanny Durga (Lakshmi Manchu) and spearheads the celebration.

The movie progresses with few businesses to take note of but leaves enough hints of something big in store. The story then veers into a thriller terrain and keeps on raining twists. Honey Rose's superb performance makes situations convincing, while meticulously choreographed action sequences might kick you out of boredom. Lakshmi Machu also offers some moderate drama. Mohanlal holds his forte with elan.

The charming visuals and faces which fill the frames, a peppy foot-tapping number that beautifully blends Punjabi, Hindi and Malayalam lyrics and an impactful BGM by Deepak Dev will keep you glued to the screen.

Apart from that, the entourage of a huge police force including Siddique, Ganesh Kumar, Lena and Anjali Nair serves as an unwarranted burden on the storyline.

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Home » Review » Monster movie review: Mohanlal, Honey Rose's experimental thriller yields mixed results »

Monster movie review: Mohanlal, Honey Rose's experimental thriller yields mixed results

Depicting how the society treats homosexuals as the reason for its characters to turn criminals negates whatever daring the makers of Monster had tried.

• Sanjith Sidhardhan

Last Updated: 06.01 PM, Oct 21, 2022

Lucky Singh, a hotelier from Punjab, lands in Kochi to complete a flat transfer deal and return the same day. Ferrying him around is can driver Bhamini on her first wedding anniversary. Coincidentally, Lucky's flat is in the same complex as Bhamini's and he becomes an unwelcome visitor in her family's life for the day. But is Lucky all that he says he is or does he have another motive?

In a scene in director Vysakh's Monster , two cops tell their superior that they have done all that they have been asked to but are still confused about what's going on. This happens after they have apprehended a suspect of a murder case and also have gone great lengths to verify the suspect's claims by bringing a man who was in another State. At times, while watching the Mohanlal-starrer, it won't be too far-fetched to say that the cops' thoughts also reflect what the audience is feeling. This greatly has to do with how the script of the film has been structured - mainly to hold off the middling suspense. 

The film revolves around the visit of a Punjabi-Malayali entrepreneur named Lucky Singh, who is ferried around Kochi by cab driver Bhamini. His intrusive ways also mean he becomes an unwelcome guest at her first wedding anniversary. But after Lucky departs, Bhamini is caught up in a mess she has no explanation for. Is Lucky who he claimed he was and what were his true intentions? - the answers of these form the plot of this Udaykrishna directorial, which has his usual staple of 'mass' moments, a convoy of cars and the male gaze.

Also read: Exclusive! Lakshmi Manchu: Mohanlal’s Monster gave me a chance to push myself and step out of my comfort zone  

Both Udaykrishna and Vysakh had admitted that Monster doesn't follow their usual template of entertainers and it doesn't. In fact, the movie is structured such that it starts off as a supposed comedy, moves to a family drama, proceeds as an investigative drama and finally ending as a crime thriller with some action. Sadly, for most parts, the movie doesn't work, and even when it does, in the latter half, it does come with its set of problems. Depicting how the society treats homosexuals as the reason for its characters to turn criminals doesn't land as intended and painting the characters evil, in fact, negates whatever daring the movie's makers had tried. But due credit, this is also where the film becomes interesting. The action sequences, especially the one in the climax, is a standout for several reasons. 

Also read: Exclusive! Mohanlal’s Monster has a mixed genre and several unexpected turns: Sudev Nair

For Mohanlal, the role is a cakewalk (no pun intended). As Lucky Singh, he is jovial and loud, and sometimes irritable too. But that's what the writer seems to have gone for. He also gets his share of moments that play to the gallery. The rest of the cast, however, fails to raise the energy. You could feel this by how the movie's pace slackens when the actor is not there. Honey Rose is probably the only other actor to stand out here, partly getting the audience to empathise with her situation in the first half.

All said and done, even though the movie was initially planned as an OTT release, it does have a few tricks up its sleeve to excite die-hard Mohanlal fans but apart from that, this Monster lacks teeth.

Mohanlal's Monster is a mishmash of several genres and only works when the makers focus on the crime thriller aspect. Apart from a few scenes, which the makers are pushing as new territory for mainstream superstar-driven movie, the film leaves much to be desired.

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Monster (III) (2022)

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Monster Movie Review: ‘Monster’, With SJ Surya, Is An Entertaining Live-Action Cartoon About A Man Who Battles A Rat

Language: Tamil

Cast: SJ Suryah, Priya Bhavani Shankar, Karunakaran

Director: Nelson Venkatesan

After Oru Naal Koothu , Nelson Venkatesan makes a hell of a U-turn with Monster . I mean, it's like watching a right-handed batsman suddenly switch to his left, or a dog person suddenly swearing allegiance to cats. If I appear to be making a big deal about something one should take for granted from filmmakers— that they make all kinds of films—it's because, they so seldom do. We may get someone making a light drama after a heavy one, but Nelson Venkatesan has followed up a sobering look at modern-day marriage with the kind of film where Sivaji Ganesan's hammy acting in Miruthanga Chakravarthy is used as a hilarious reaction shot. Monster is like nothing we've seen in Tamil cinema. It's a live-action cartoon—the closest example I can think of is Home Alone . Instead of a boy trying to save his home from thieves, we have a man trying to rid his home of a rat.

The man is Anjanam, and SJ Surya plays him perfectly. The actor's cartoony rigidity, his fondness for jerky movements, his exaggerated expressions—everything fits. The film opens with Anjanam as a boy, being taught to value all living creatures. An ant falls into his drinking water, and he gently fishes it out and sets it free. So when, many years later, a rat infests the home he has bought for himself, he can't just… kill it. He has to find a less-lethal way, which is when the fun begins. The director reveals an utterly unexpected eye for slapstick ballet. A micro-mini set piece involving a gas cylinder, an umbrella and a ridiculously expensive sofa is staged like a dream. So is the bit where Anjanam sets a trap, not daring to breathe—this is an unusually alert rat. Justin Prabhakaran propels things along with a fine, busy Tom-and-Jerry score.

At a time so much of our comedy is so mean-spirited—say, shaming people for their weight, or making cracks about Yogi Babu's face—  Monster is a lovely reminder of how gently (and generously) smiles can be evoked. I smiled at the E.T. -like shot of the rat silhouetted against a giant moon. (Good job, animators.) I smiled at the song sequence where children appear in rat costumes, taunting Anjanam the way the rat (apparently) does. I smiled at the "rat's eye view" camera angles. I smiled at the way Anjanam and his fiancée (Meghala, played by Priya Bhavani Shankar) clean up the mess after an all-out attack by the rat. Karunakaran's (he's Anjanam's buddy) asides are priceless. It's a combination of verbal and situational comedy. They've really thought this through.

The Meghala-Anjanam scenes are in the same tone. Unlike the frantic-to-please love scenes in our films, there's a relaxed intimacy, with nicely judged comic touches. (Listen to the ' Andhi Maalai Neram' number, and you'll see what I mean—fun, yet relaxed, yet intimate.) There are very few off scenes, really—like the one where Meghala assumes Anjanam has come to her workplace to see her. (At that point, he doesn't know what she looks like. They've only spoken over the phone.) But the film's real big problem is its length, padded out by a smuggler subplot. But I didn't feel like complaining because the sheer joy elsewhere is contagious. I felt like a kid again, watching cartoons on TV. Had Monster been a half-hour shorter, it might have been a classic of its kind. But even now, it's an awfully charming tail.

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Monster movie review: Mohanlal’s cringey acting as a Sikh rivals the script’s creepy homophobia

Mohanlal hams to embarrassing levels as the team of Monster tries to camouflage their closeted conservatism by pretending to care about LGBT-plus rights

Language: Malayalam with some Hindi and Punjabi  

Cast: Mohanlal, Honey Rose, Sudev Nair, Lakshmi Manchu, Leena, K.B. Ganeshkumar, Siddique, Johny Antony       

Director: Vysakh

Star rating: 0.25/5

Sikhs, Punjabis and homosexuals are not viewed as people by the team of Monster . Instead, they’re seen as gimmicks, tools to build suspense and write grand reveals in a crime drama.

Full marks to director Vysakh and writer Uday Krishna for being consistent in this new Malayalam film – consistently cringeworthy.

Monster begins with a women-drivers-only taxi service sending Bhamini (Honey Rose) to ferry a client named Lucky Singh ( Mohanlal ) around Kochi. When they meet, she is put off by his over-familiarity. Almost as off-putting as Lucky’s flirtatious, creepy conduct with a woman young enough to be his child and a stranger mistaking her for his wife, is the veteran actor hamming his way through the role of a Sikh and pretending to be a natural Punjabi speaker though his awkwardness with the language is glaring. Lalettan in Monster sprinkling Punjabi and Hindi in his conversations with Malayalis in Kerala who do not know either is as ridiculous as Suresh Gopi ’s character in the recent Mei Hoom Moosa peppering his sentences with Hindi in a village in the state. It is contrived, unrealistic and truly silly.

Next in Monster , an alleged crime occurs, a probe follows and fugitives are apprehended.

After a terrible first half, there is for a short while in the second half some excitement generated about the possible identity of the various parties involved and the motivations of the criminals, but no aspect of Monster is so effective as to overshadow its unfailingly superficial script, generic treatment, crudeness, clumsy dialogues and Mohanlal’s self-conscious acting.

At one point, Monster decides to bat for LGBT-plus rights. It should have spared the world the effort because, as we learn from watching this film, a closet homophobe faking progressiveness can be worse than open homophobia.

The characterisation of the homosexual individuals in Monster and the awful acting are both geared to fit prevailing prejudices. The writer is confused, misinformed and ignorant about laws regarding marriage and same-gender relationships in India. He compounds this grievous laxness towards his theme with an apparent cluelessness about the difference between legal sanction and social acceptance. Certain characters spout lines that are purportedly considerate towards homosexuality, yet their vocabulary is never free of an us-vs-them mentality.

Certain aspects of Monster reminded me of a horrendous Hindi film called Girlfriend released in 2004 in which the lead was a murderous, kickboxing, mobike-riding lesbian who – to top off the stereotypes – chopped her long hair part way through the narrative, and in the end was revealed to be (wait for it!) Christian. The saving grace in that episode was that Girlfriend ’s writer-director Karan Razdan was a marginal player who never made it big in films, just like its stars Isha Koppikkar, Amrita Arora and Aashish Chaudhary. It is a matter of shame that Vysakh, in contrast, is the hugely successful maker of the blockbusters Pokkiri Raja and Pulimurugan , Uday Krishna is his equally successful, long-time collaborator, and Mohanlal, as one of the foremost names in Malayalam cinema history, is clearly not struggling to get offers. What then is this trio’s excuse for creating a film as horrifically regressive as Monster ?

One of the heartening facets of contemporary Malayalam cinema has been the normalisation of Kerala’s religious minorities. This month though has been a sad reminder that Malayalam filmmakers are not free of bigotry and play-it-safe trickery. Exhibit A: the Islamophobia in Mei Hoom Moosa . Exhibit B: a homophobic filmmaker pointedly identifying the homosexuals in Monster as Christian, thus protecting himself from the anger of majoritarian elements in the audience in a largely anti-LGBT society. In doing this, Vysakh follows in the footsteps of not just the obscure Girlfriend , but also Pan Nalin’s much-acclaimed Hindi-English film Angry Indian Goddesses (2015).

The stereotyping of LGBT-plus persons in Monster is unrelenting. A lesbian couple are filmed through an unapologetically lascivious lens – bosoms heaving as they hungrily tear into each other with their eyes before their bodies collide with an animal fervour, unmindful of the company in the room – in a scene evidently designed to cater to a common cis-heterosexual male fantasy of watching women make love to each other. In a country where conservatives often describe homosexuality as a “Western concept”, Monster even has an English song playing in the background while summarising a same-gender romance in the storyline.

In its choice of title, Monster mirrors the likes of the Tamil thriller Ratsasan (Demon / 2018), which villainised a man who, in fact, deserved audience empathy for the oppression he had faced all his life. “It takes a monster to destroy a monster,” says the trailer of Vysakh’s film, while aiming its fire at people whose unlawful activities were born of the extreme persecution they had suffered. In case you don’t get the point, in the end the supposed good guy in Monster makes a statement to this effect: “It is not the circumstances of the criminal but justice for the victim that is the responsibility of law enforcers.” I guess we can safely conclude what his stand would have been if he was a character in Victor Hugo’s French classic Les Miserables and witnessed a poor man stealing bread for a starving family. The lack of nuance, sensitivity and basic humanity in Monster is staggering.

Rating: 0.25 (out of 5 stars)  

This review was first published in October 2022 when Monster was released in theatres. The film is now 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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Monster Review: बाल मन की संवेदनाओं की झलक दिखाता जापानी आईना, सोया कुराकोवा के अभिनय ने जीते दिल

युजी सकामोटो की लिखी कहानी बाल शोषण, स्कूल में बदमाशी, नारीवाद और समलैंगिक रोमांस जैसे संवेदनशील विषयों पर है।  .

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बीते साल की गर्मियों में जापान में रिलीज हुई जापानी फिल्म 'मॉन्स्टर' इस साल की सर्दियों में भारत पहुंची है। इतने अंतराल में तो अधिकतर फिल्में इंटरनेट पर मौजूद तमाम प्लेटफॉर्म के जरिये भी लोग देखना चाहें तो देख ही लेते हैं। हालांकि, हिरोकाजु कोरे-एडा के निर्देशन में बनी फिल्म 'मॉन्स्टर' एक बहुत ही संवेदनशील मुद्दे पर आधारित है लेकिन चूंकि फिल्म अपनी मूल भाषा जापानी में ही भारत में भी रिलीज हो रही है लिहाजा इसके दर्शक सिर्फ वही होंगे जिन्हें फिल्मों को उनकी मूल भाषा में अंग्रेजी सब टाइटल्स के साथ देखने का अभ्यास है। ये अभ्यास ऐसा है कि आंखों की पुतलियों को एक साथ दो जगह फोकस रखना होता है। नीचे सबटाइटल्स भी देखने हैं और ऊपर कलाकारों का भाव प्रकटन भी। गाड़ी चलाते समय जैसा तनाव ऐसा करने में होता रहता है, वैसा ही किछ तनाव फिल्म 'मॉन्स्टर' को देखने में होता महसूस होता है।

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Monster Movie (2022)

Action | Crime | Adventure | Suspense and Thriller | Latest Malayalam Movies

Hindi , Telugu , Tamil , Malayalam | 2 hr 13 min | Release Date Oct 20, 2022

Monster : Release Date, Trailer, Cast & Songs

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Monster: Release Date, Trailer, Songs, Cast

• Release Date 21 October 2022
• Language Malayalam
• Genre Crime, Thriller
• Duration 2h 55min
• Cast Mohanlal, Lakshmi Manchu, Lena, Honey Rose, Sudev Nair, Siddique, K. B. Ganesh Kumar, Jess Sweejan, Johny Antony, Arjun Nandhakumar, Kottayam Ramesh, Kailash, Edavela Babu, Biju Pappan, José Joel, Sadhika Venugopal
• Director Vysakh
• Writer Udaykrishna–Sibi K. Thomas, Udaykrishna
• Cinematography Satheesh Kurup
• Music Deepak Dev
• Producer Antony Perumbavoor
• Production Aashirvad Cinemas

About Monster Movie (2022)

The Malayalam film stars Mohanlal as turban-clad Lucky Singh. It is the actor’s first role as a Sikh in his career.

Monster Movie Cast, Release Date, Trailer, Songs and Ratings

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Monster movie review: Hirokazu Kore-eda's tender and masterful plea for acceptance is one of the best films of the year

Monster movie review: the director of shoplifters delivers another terrific film that plays out like a thriller told through shifting perspectives..

Japanese director Hirokazu Kore-eda's best works offer tender, illuminating portraits of the many moods of childhood. He's a master of capturing the mundane, the specific everyday-ness of human experience. His new film Monster (Kaibutsu), which first had its world premiere at the Cannes Film Festival last year, at first seems to follow the same road. Yet, as the Rashomon-esque drama unravels, Monster becomes a compelling reminder of the power of perspective, woven within the repeating events of the same days, told from three angles. (Also read: Upgraded movie review: Camilla Mendes leads this spirited yet formulaic romantic comedy )

The structure and premise

Monster begins with Minato Mugino (Soya Kurokawa), who has begun to act strangely around his single mother Saori (Sakura Ando). She is witness to his hair-cutting tendencies and tracks him down to an abandoned tunnel by the hills. A well-intentioned comment drives Mugino to jump out of the moving car. Saori suspects that he is being bullied at school, and registers a complaint to the principal Makiko Fushimi (an unforgettable Yūko Tanaka), against a certain teacher there, named Mr. Hori (Eita Nagayama).

Why has Mr Hori called him ‘pig brain’? The explanation then leads to the second act, which shifts the perspective through the point of view of Mr. Hori himself. Although he has shared that it was Minato who was a bully to another student in the class- the sensitive Yori (Hinata Hiiragi), is there more to his story? Its a thornier angle, where he is wronged in an insidious system that is governed by adults. He is forced to give a formal apology, but it does not provide any explanation to the many loose ends that still stick out.

Once the screenplay, a masterwork in recalibration of incidents and perspectives by Sakamoto Yuji (that won him the Best Screenplay at Cannes ), directs its gaze towards the reality between Minato and Yori, Monster reveals what is really going on. The two kids have a soft spot for each other, although how they respond to that is contrasting. The third part is the film's most unforgettable segment, and although Monster takes its own sweet time to arrive there, stay with it. Assemble the bits and pieces of information scattered through the three segments. It all comes together to form a jewel of a film.

Final thoughts

Breathtakingly vivid in the scenes involving a fairytale-ish, abandoned carriage that the kids share, far away from the gaze of adults, Minato and Yori build a precious bond. A particularly moving and profound scene appears when Minato and Makiko meet and share a moment by themselves in the school's music room. "Happiness is something anyone can have," she tells him. "If it’s not for everyone, that’s not happiness." The emotional intelligence with which this particular insight fits into the web of Monster is a thing of beauty.

Composer Ryuichi Sakamoto's rousing, intimate score marvelously plays out to withstand the many moods and feelings of this film. Monster invites the viewer's worst assumptions on its characters, and gently makes space for empathy and consideration along the way. It shows how truth can exist in different forms and layers, often guided by circumstance and impulse. The world that Monster creates, expands to allow those assumptions, and then lifts the shadow over the unforeseen reality. Ever so gentle and quiet in its treatment, Hirokazu Kore-eda has delivered a soulful, humanist drama; and one of the very best films of the year.

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‘Monster’ movie review: A truth in three acts in Hirokazu Kore-eda’s moral drama

Through shifting perspectives, the japanese director examines and unspools modern society’s complicated relationship with truth.

November 03, 2023 01:52 pm | Updated 01:52 pm IST

A still from ‘Monster’

Ever since his second feature After Life that released 25 years ago, Hirokazu Kore-eda has written, directed and edited all his films. It’s worth then noting that, although he has bent his rule and handed over the writing duties on Monster to Yuji Sakamoto — a famous playwright in Japan — he has not ceded the editing process to anyone else. Monster is among the most formally intricate of Kore-eda’s films, and also his most rhythmic. We begin with a shot of a child’s feet, wading through grass, then see firetrucks, then a building on fire, then an entire cityscape lit up at night. Several of these images will recur in the film — from different vantage points — and Kore-eda will take both a master and a film enthusiast’s delight in shifting these perspectives around.

The raging flames are first witnessed from their balcony by single mother Saori ( Shoplifters ’s Sakura Ando) and her school-going preteen son, Minato (Soya Kurokawa). Distractedly, Minato asks a strange question — something about transplanting a pig’s brain in a human’s head — that unsettles Saori. From here on, she begins to observe troubling changes in his behaviour; he shears off his locks, spills his belongings, acts sleepy and sullen and withdrawn. He could be any young kid acting out the onset of adolescence, but Saori senses more. After a night of frantic searching, she finds him out in the woods, alone in a dark tunnel, screaming, “Who is the monster?”

Also Read | Cannes 2023: Japanese director Hirokazu Kore-Eda’s ‘Monster’ receives six-minute standing ovation

The most obvious and tempting answer seems to be Mr. Hori (Eita Nagayama), Minato’s homeroom teacher. After Minato claims to his mother that he was hit in class by his instructor, Saori approaches the school for an explanation. She is offered an apology instead — a comically absurd scene with Mr. Hori and the other teachers bowing in unison — as Kore-eda sends up the ritual politesse of formal institutions in Japan. Even as we share in Saori’s anger and astonishment at the apparent maltreatment of her child, and what looks like a cover-up on the school’s part, our sympathies are left hanging. We learn, for instance, that school principal Makiko (Yūko Tanaka) has recently lost a grandchild—she appears as adrift and unstable as young Minato. “Your son is a bully,” Mr. Hori tells Saori during a later confrontation, bringing up the boy’s treatment of a classmate, a sweet misfit named Eri.

Monster (Japanese)

It’s a little past this point that the narrative rewinds and resets to the day of the fire. Mr. Hori, far from emerging the ‘monster’ of the title, is revealed to be a caring and concerned teacher — asking after his pupils, prioritising their futures over his own reputation. Later in the film, we get a third and final perspective shift, as the same events play out from the viewpoint of Minato and Eri’s budding friendship. This approach by Kore-eda and Sakamoto has been likened to the Rashomon effect — both fairly and unavoidably, since it was popularised by their Japanese forebear, director Akira Kurosawa.

But where the point of Rashomon (1950) was to challenge and complicate our relationship with the nature of objective truth, the purpose of Monster is really to simplify it. The film underlines how often the simplest explanations can elude our eyes, obscured by layers of fear, prejudice, and mutual suspicion. Unfolding in a modern age, where heteronormative codes are reinforced by mass media and figures of authority and rumour-mongering abounds, the film indicts not people but words; it depicts how the subtle cruelties of language — whether by accident or intent — can have the most devastating effect.

Monster is the first film since Shoplifters (2018) that Kore-eda has set in his native Japan. It has all his pet imageries and tropes—Minato demanding some privacy from Saori to talk to his late father’s portrait is quintessential Kore-eda. Reuniting with Shoplifters cinematographer Kondo Ryuto, Kore-eda once again creates an emotionally acute, intimately observed world, helped by Ryuichi Sakamoto’s mournful, gorgeously elemental score. Sakamoto passed away earlier this year to cancer. Monster honours the legendary composer in its closing credits, but also through a scene where music literally saves a soul. It is a fitting tribute in a film that counts among its preoccupations the idea of regeneration and rebirth.

Monster was screened at the Jio MAMI Mumbai Film Festival 2023

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Monster Movie Review: Kore-eda Hirokazu's Complex Drama About Two Schoolboys Surprises You At Every Turn

Updated Oct 30, 2023, 17:06 IST

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