People often base their perception of police on those limited conversations and media exposure from news and films. Shahi Kabir’s Malayalam film ‘Ronth’ provides a rendering of a police life that is very leveled in a story that takes the audience to the depths of police experiences, especially those who take responsibility on the ground on day-to-day basis.

‘Ronth’, which translates to the patrol party, has two officers of the border of Dharmasala police in Kannur in Kerala, Kerala, as D. Vohanan and CPO Dinath. Two officers, a pair of experienced policemen and a fresher who are six months old in job, goes out on night duty for their patrolling. The cases they faced during patrolling in rural areas of Kerala, individually involved, provide deep insight into the life of these police and also form the plot of the film.

As a writer, Shahi Kabir has written five police plays, including ‘Ronth’, and his talent in style is very clear, as his stories take a rich sense of authenticity rich in his real -life experience as a police officer. ‘Ronth’ has a very spectacular screenplay that takes the audience into a patrol vehicle with two central characters and provides a third person’s view in job struggles, which is more like a redilong experience.

Shahi Kabir’s second director, ‘Ronth’, after 2022’s ‘Ila Visa Poonchira’, also highlighted the problems of the professional and personally. While avoiding any type of theaterics, the director holds a rustic tone to follow the raw style of storytelling. However, while the views and execution of the scenes are at the top throughout the film, the options made towards the climax – which seems quite Shakespeareian – can create tiredness due to the emotional drain.

https://www.youtube.com/watch?v=7bgndp8etk

Dyilish Pothan and Roshan Matthew took the film with their performance. Pothan, as a senior inspector carrying experience of over 18 years of age, offers a fine performance that adopts beautifully in every situation facing his character, showing his limit as an actor. Roshan Matthew, as a fraud officer, always remains on the edge, leaves the audience with a lot of feelings until the end of the film. Both – their banners, inequality in moral approach, and overall chemistry – is the major anchor point of the film.

The technical departments, especially music and cinematography, increase the film and play an important role in making it impressive. Like a steroid booster, cinematography and music complement the story and performance. Cinematography by Manesh Madhavan captures the intensity of both lead chases along with the beauty of Kerala. Anil Johnson’s music – background score is particularly effective and adds depth to scenes. Sink sound and sound designs by Arun Asok and Sonu KP are also worth a special chill.

The effect of the film is quite emotionally drought. As the story moves forward, by the middle of the second half, someone may feel that this night is very long. Experiences as a feeling of fatigue and creep as emotional tolls can be shared with major characters. As mentioned above, the Ridealong experience is real.

‘Ronth’ stands out for its ground story, yet controls powerful performances, and is an ineffective gaze in the daily realities of police work. Shahi Kabir does not rely on bravery or high -octane action to talk – instead, he allows silence, peace and emotional weight of jobs to herself. With a living-effergacy and slow-burning story, the film cannot fulfill all sensations, but for those who want to sit with their calm intensity, ‘Ronth’ leaves an impact and has been warned!