“Manithar unarndhukolla ithu manitha kaadhal alla! Athaiyum thaandi punithamanathu…(This is not a mortal love that people should comprehend! This is beyond that, pure…)”

The choice to use a famous line from Santhana Bharathi’s 1991 film Gunaa, starring Kamal Haasan at the beginning of Manjummel Boys, immediately plunges our attention.

These are uttered by the male hero, Kamal, to express his undying love for his female counterpart, Rohini. However, it soon becomes apparent after viewing the survival thriller directed by Chidambaram that no other dialogue can truly convey the essence of Manjummel Boys.

Although Manjummel Boys, who drew inspiration from a true story, are not obliged to perform such balancing acts, the hurdles are nevertheless present. This is especially true if the audience knows how the events will ultimately pan out. However, it is truly an accomplishment that the narrative keeps us interested throughout. Not a typical buddy movie, Manjummel Boys is jam-packed with survival elements.

This is it if you’re searching for a well-made survival movie. It’s a visual wonder with excellent narrative, character development, editing, acting, and excitement. Writer and director Chidambaram has done an amazing job, from skillfully creating the setting—practically decades ago—to portraying the people and their reactions to the events authentically and ensuring that the plot flows naturally.

In the year 2006, ten carefree young guys, some of whom work odd jobs to support themselves, set off on an idyllic journey to Kodaikanal, Tamil Nadu. They travel the
entire length and width of the hill town with young energy and no inhibitions, led by the group’s senior, Kuttan (Soubin Shahir). As their journey draws to a close, Sudheesh (Deepak Parambol) realizes they have missed a top tourist destination: the Guna caverns (also known as Devil’s Kitchen), the location of Kamal’s Gunaa. When they arrive, they discover the cave has been boarded up. The atmosphere gradually changes as they get into the Guna caverns, and this change is forced rather than forced. Here, the movie bids farewell to its previous joy, slowing down to seize every second and letting the strange atmosphere creep in.

The lads’ spontaneous entrance into the restricted region of the cave is handled with finesse, perfectly capturing the emotions of the actors as well as the sense of approaching terror.

They enter the forbidden area “courageously” and start investigating its depths. The others are terrorized as Subash (Sreenath Bhasi) unexpectedly falls into one of the cave’s deepest holes. Since “none of the 13 people who fell into the Devil’s Kitchen previously have returned alive, and their bodies remain unrecovered,” neither the villagers nor the police will aid, even when requests are made. The nine men’s tenacious attempts to save their comrade are the major subject of the rest of the movie.

There is a change of pace to start the second half. It’s more of an analogy for what really occurred in the Guna Caves, and it was masterfully handled there with the young actors, which let the audience empathize with the people and their emotional states. It runs smoothly. There are no over-the-top moments, and everything about the rescue, the response of everyone around them, their eventual return, and the way the incident’s real story is revealed in Manjummel are all done with authenticity.

The rescue scene wasn’t long enough, and the opening few minutes of the movie were a little strange, but that was my only small drawback. Their trek to Kodaikanal commences when the film starts. The rescue scene may have appeared dull or even made the audience shudder. Still, directors Chidambaram and Shyju Khalid have ensured that instead of making the audience feel smothered or drained, they allow them to enjoy the excitement of those situations. The tight quarters, the degree of danger, and the work required for a successful rescue are all effectively shown without over-dramatization.

Regarding the actors’ game, almost all of them excel, with a few instances approaching absolute brilliance. As usual, Soubin Shahir gave a great performance, but as the young atheist, Sreenath Bhasi shined. He deserves a standing ovation for portraying the entire range of emotions experienced by someone defenceless and grasping at any chance to glimpse hope.

The film’s outstanding component is the cinematography by Shyju Khalid. When the mood turns grim, it’s incredible to see how every shot changes tone and every detail is displayed on the screen.

In addition, Bhasi’s make-up artistry was excellent in the second part. Not to be overlooked is the editing, for which Vivek Harshan deserves special recognition for his amazing cuts, particularly the way he combines Bhasi’s cave scenario with his early recollections. He creates a potent scene in the movie by doing the same with Soubin Shahir.

The soundtrack is equally outstanding. Sushin Shyam’s music aptly captures the film’s emotional roller coaster, blending brightness and dark, hope and sorrow. The pre-interval sequence features a simple soundtrack, and Soubin Shahir’s reaction is masterful. The finale employs Ilayaraaja’s famous song “Kanmani Anbodu Kadhalan” to strike a deep emotional chord. This brilliant tribute to the timeless masterpiece “Gunaa”, starring Kamal Hassan, has a profound effect.

The epilogue’s allusions to the original incident, along with pictures of the actual people involved, heighten the movie’s impact. The movie’s success is largely due to the moulding since most performers give exactly what is needed. Chidambaram crafts a flawlessly designed survival thriller with Manjummel Boys.

Notwithstanding several issues, Chidambaram’s film is a moving homage to the actual Manjummel Boys and their valiant attempts to safeguard their loved ones.