After the *chef’s kiss* Andhadhun, I was pumped to watch “Merry Christmas”, because why not??? Vijay Sethupati, Katrina Kaif, and the director of Andhadhun? Just sign me up man. This time, he’s taken a French novel, sprinkled some Christmas magic in Bombay, and paired up an unconventional combo onto the screen. But, the question is, does it work? Well, the answer is both yes, and no. If you’re going in thinking it’s gonna be a mindfck rollercoaster of unfulfilled love, heartache, and tonnes of secrets on a Christmas Eve, you might wanna keep your expectations in check. Cuz this is more of a slow burn that explores the depth of its characters rather than simply serving the audience dopamine and adrenaline.
Plot
An adaptation of popular French writer Frederic Dard’s novel ‘Bird In A Cage’, the story starts with Albert (Vijay Sethupathi), mourning his mom’s demise on a Christmas Eve in Bombay. And proper ‘men behaviour’ ka paalan karte hue, he tries to get in the festive mood to escape his gloom and bumps into Maria (Katrina Kaif) at a restaurant. Even I wanna bump into Katrina when I’m sad yaar, this is unfair. Anyway, Maria isn’t alone. She has her daughter with a big teddy bear, but there’s a whole eerie vibe about the absence of the father. Cue “Kuch toh gadbad hai Daya…” Albert, like any of us, senses something fishy but who can resist Kat’s charm??? Cut to both of them spending the night in Maria’s apartment, which, surprise surprise, is a crime scene. What happens next is for you to watch.
Performances
Okay, ngl jab iss film ka poster nikla tha, what drew me in the most was the unconventional pairing. I was sooo excited to see them on screen together, and bro does it pay off. Katrina and Vijay are the dynamic duo playing losers in love with finesse. This is prolly Kat’s best performance to date. That mystery behind the innocent face, those sad eyes dying to tell a story, Kat just nails it as Maria. Vijay sir ke kya kehne, he is brilliant as always. The way he instantly changes from a serious tone to his rizzler avatar (>>>) and back to the serious tone is just so fking pleasing. The supporting cast including Sanjay Kapoor, Vinay Pathak, and Ashwini Kalsekar also understand their assignment well. But, Radhika Apte’s cameo is the real cream, lol. All in all, the entire cast feels like puzzle pieces fitting perfectly into Raghavan’s noir maze.
Direction and Writing
Sriram Raghavan, man. Has got to be one of the best directors of Indian cinema out there. Our desi Hitchcock keeps dropping hints as bait, and we keep ignoring them, only to connect the dots in the end to realise the dumbfcks we are. His references to The Adventures of Pinocchio (1986), The Merry Widow (1952), and Kati Patang (1971) are subtle foreshadowings of what’s next to come. Not to forget, Asha Bhosle’s number from Raja Rani (1973) that complements THAT scene so well. The dialogues are deep without being preachy, but it is the climax that underwhelms. You might feel that sitting through the slow burn was a waste of time cuz of the ending, but I swear it is a ride worth taking. It’s like that meal jiska dessert isn’t up to the mark, par I swear the main course is *chef’s kiss*
Screenplay and Cinematography
First of all, kudos to the team for effortlessly transporting us to the retro Bombay era. Idk man, purani Bombay ki baat hi kuch aur hai, it’s a whole different vibe. The screenplay is smooth, even dull at times, but never boring. First half toh ekdum hi stagnant hai cuz it just develops the characters. But it is the second half that really gets going. Again, it’s not mind-boggling like “Andhadhun,” – you might not be shocked, but you’re definitely swaying along. Those close-up shots of random props that make sense in the end are like little Easter eggs, only they’re for Christmas. Add to it the mysterious night vibe– 10/10 story building man. But a big part of me wishes the climax paid off, sigh.
All in all, “Merry Christmas” is Sriram Raghavan’s gift to cinephiles – a quirky, slow-burn thriller that’s as unpredictable as that first date with your Tinder match. Haan, there are moments where the translation from the book to the screen stumbles, but you’re too busy enjoying the impromptu dance sequence and decoding Rajesh Khanna photos on cinema tickets to care. There are just so many things that you’re gonna miss if you blink. The climax, a daring experiment, might not be everyone’s cup of tea, but I’m sure it’s gonna leave you thinking and itching for a post-movie debate. Dekh lo, achhi hai.
