Unmadham Movie Review: Over the years, several actors have shared how the contentious “method acting” technique has significantly affected their mental health and personal lives. It’s argued that its consequences include emotional exhaustion, stress, anxiety, strained relationships, and even a decline in physical health, as the characters take over the actors’ selves. Director Kiran Das’ Unmadham, in a way, explores and lays bare the effects of what can be termed “method writing.”
So, what is it? First, let’s look at method acting. The Nashville Film Institute defines it as “a technique that performers employ to empathise with the characters they are portraying emotionally. In this technique, the actor ‘becomes’ the character and frequently remains in the role for long periods.”
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What is ‘method writing’ and how Unmadham frames it
“Method writing” is somewhat similar in essence, as the author taps into the narrative and characters’ emotionally authentic voices. No Film School describes it as “the process of telling a story by getting in touch with your emotions, empathising with your characters, and accessing your truest self.” In a way, “method writers” dive deep into their narratives, inhabiting the story’s depths and the characters’ emotional realities to ensure authenticity.
Ok, let’s get into Unmadham now.
The first time we see civil police officer Shelly (Kunchacko Boban), he is on a film set, awaiting feedback from a director for a script he has written. Although impressed by the devices he has used to advance the narrative, including the character arcs, the filmmaker isn’t awed by Shelly’s story. He asks him to develop something that resonates with him.
Here itself, Unmadham’s screenwriter Shahi Kabir establishes that the protagonist has the tools to write a script, and all he needs is to grab hold of a soulful story and narrate it with authenticity.
Although Shelly’s wife Soumya (Lijomol Jose) is vexed by his film ambitions, which place the burden of running the entire household, including finances, squarely on her shoulders, she also wants him to succeed, believing it would help uplift their lives.
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A police case wrapped in a ghost story and superstition
Amid all this, Shelly comes across an unsolved “cursed” case regarding the unnatural death of a young woman, which had been closed without a proper inquiry. According to the lore among cops, once someone touches that case’s file, “officers will start facing suspension for one reason or another, unnatural deaths will become frequent in the station limits, or cops’ uniforms will get stained by someone’s blood.”
Realising it has the potential to become an intriguing screenplay, Shelly begins pursuing it. However, as he delves deeper, he too starts facing the wrath of the deceased woman (Raina Radhakrishnan), putting him in a situation where he can’t escape without finding answers to her death.
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Just when I thought Shahi Kabir couldn’t impress us with yet another police story, he has proven me wrong, underscoring that there’s enough behind the khaki that’s unexplored. Even with Unmadham’s several shortcomings and the story’s similarity to a few old movies, the psychological drama impresses, thanks to the gripping way Shahi has developed the script.
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At the same time, the growth he has shown as a storyteller, starting with Ronth (2025), is impressive, and it continues here as well. Much like the Dileesh Pothan-Roshan Mathew starrer, Shahi has portrayed a few tricky themes quite maturely here too, trying his best not to give off the wrong message, even though one can’t say that the movie is without flaws.
For instance, Unmadham shows that all the officers at the Kongad station believe in the superstition surrounding Keerthana’s (Raina) case, justifying it by claiming that one of three consequences will soon follow whenever someone touches the file. However, we later hear another officer (Kottayam Nazeer) observing that suspensions, unnatural deaths, and bloodstains on uniforms are common occurrences in cops’ lives, with or without Keerthana’s case.
The performances, however, including those by Kunchacko Boban and Lijomol Jose, are at best serviceable.
This also illustrates how such superstitions are prevalent even among law enforcement officers, without glorifying the practice. Shahi challenges superstitions with reason, but doesn’t let his efforts diminish the horror factor in the narrative.
Balancing psychology and horror without losing ground
At the same time, much like Fazil’s magnum opus Manichitrathazhu (1993), Shahi Kabir and director Kiran Das ensure a balance of psychology and horror in Unmadham without sounding illogical. By clearly establishing that Shelly battles with schizophrenia, the makers highlight the reason behind his claim that he can communicate with Keerthana and that she is leading him to the truth behind her death.
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However, even with this, Shahi and Kiran don’t compromise on building the tension. They achieve this by focusing more on Shelly battling his inner demons — which he believes are connected to Keerthana — and by steering clear of stereotypical portrayals found in conventional horror scenes.
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However, there are moments when the creators compromise the strength of their narrative by abruptly giving Shelly clairvoyant powers.
Although the dream sequences, where Shelly battles his fears and the effects of his mental health issues, are visually stimulating, Kiran stretches them out on several occasions. While Shelly’s constant hallucination of being followed by lizards adds an eerie quality to the visuals, its frequent use ultimately diminishes its impact as the film progresses.
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Towards the end, Shahi blurs the line between the real and unreal, making one question whether Shelly’s claims of seeing Keethana’s ghost are true or simply an effect of his schizophrenia that he pushes to the limit as part of his “method writing” style to create brilliant scripts.
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Writing flaws, rushed reveals, and dated tropes
(Spoilers ahead) Despite this, the coherence visible in Ronth is often absent in Unmadham, as Shahi Kabir struggles to advance the narrative after a point. For instance, the scenes revealing what actually happened to Keethana feel hastily and thoughtlessly put together, bearing virtually no connection to the rest of the film. The motive behind her murder is so random that it feels impossible to digest.
Another major issue with Unmadham is the dated drama. From the familial issues between Shelly and Soumya to his psychotic episodes, these scenes lack originality and feel overly familiar. Shahi also un/knowingly shows a penchant for vilifying Soumya, portraying her as the hot-headed woman who always shouts at her “docile” husband, without acknowledging that she often single-handedly supports her family because of Shelly’s irresponsibility.
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The script wanders aimlessly many times and even forgets a few plot devices it introduces prominently midway, only to never revisit them. For example, right before the interval, a young man accused of involvement in a POCSO case is brought to Shelly’s station for questioning. He is then beaten black and blue, causing him to cough up blood. But what happens to him after that? Nobody knows, as Shahi completely ignores him after that.
Honestly, Unmadham could have benefited from tighter writing, which might also have helped it avoid unnecessary similarities with Ranjith Sankar’s Pretham (2016) and, to an extent, Fazil’s Vismayathumbathu (2004).
Performances and technical aspects: Does Unmadham hold up?
Kiran Das’ background as an accomplished editor has significantly helped Unmadham. Along with cinematographer Arjun Sethu and co-editor Jithin John, Kiran creates an impressive atmosphere that feels very authentic.
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The benefit of having a technician as director is most evident in a shot where Soumya hugs Shelly after one of his outbursts. While there isn’t much light on her face, underscoring her emotional state, when the camera pans to show Shelly’s face, it’s bathed in red light, highlighting his psychological state. The makers have employed such fine detailing at several junctures in the film to provide viewers with a memotable experience.
Mujeeb Majeed’s music also deserves massive praise, as he has played a key role in elevating the film significantly even when the script fails to. The performances, however, including those by Kunchacko Boban and Lijomol Jose, are at best serviceable.
Unmadham movie cast: Kunchacko Boban, Lijomol Jose, Raina Radhakrishnan, Kiran Peethambaran, Sudheesh
Unmadham movie director: Kiran Das
Unmadham movie rating: 3 stars
