This is the story about twin brothers separated at birth, nevertheless raised by aristocratic families, because malayalam cinema. Meet Joseph Alex and Bharath Patteri.
Although they were separated, they grew up to be exact same person, albeit with minor differences. Joseph Alex grew up to be an IAS officer (after “the mutinous hallucinations of an adolescent absolved”) while Bharath heads SIT in Delhi.
Joseph has severe dandruff issues that makes him scratch his head several times a day (sometimes even during a punch dialogue).
Bharath, on the other hand, has the annoying habit of pen clicking, often bordering on OCD.
Joseph used to work as a railway announcer in the past, which comes to play in his future too. Often he rants in English and repeats the same in Malayalam, like a really angry Siri. Coming to Bharath, it seems someone had told him American accent is cool, but he forgets it half way, ending up stressing his t’s alone unnecessarily.
But, when it comes to misogyny, Jospeh and Bharath behave like a proper entitled mallu men. They don’t have any qualms about mistreating women colleagues or demeaning their professional qualifications. Like sending his female colleague for honey trap or thinking his female colleague is only a “glorified stenographer”
Anyways, Joseph Alex is in the task of investigating a riot and Bharath is investigating a bomb blast. The similarities in their lives are so uncanny, or is it?
Joseph, the cleverest among the two, has solved the case right in the beginning- a corrupt IPS and a politician are at fault. He knows who did it, he just needs the evidences to prove the guilt. Halfway through, one might think this is an aimless movie, rampant with verbal diarrohoea, when each character just engages in 15 minutes monologues (that 15 minutes is after these dialogues have been censored for abusive words). Because the writer thought Malayalam and English rants aren’t enough, a certain kichdi eating Vikram Khorpade comes from Mumbai Underworld to rant in Hindi. At somepoint, out of nowhere, a random Suresh Gopi appears and mumbles something in Tamil too. I was quite confused if it’s a malayalam movie or a dialogic version of “Mile Sur Mera Tumhara”.
Since Joseph didn’t have an actual case at hand, he engages in solving the mystery of why his colleague, Anuradha Mukherjee is a ‘freak’! To provide some context, Anuradha, a grown up woman, is quite modern in her looks and attitude, drinks and merries in her spare time. Probably Joseph’s balls itch at the site of an independent bold woman, he keeps pestering her with “why are you a freak?”, until she changes into saree-bindi and coyly looks at Joseph with fake admiration.
Bharath has a difficult case in hand. To his luck, his father Patteri is a psychic who is really afraid of lizards. What Bharath doesn’t know is that his father trips heavy on LSD.
For some reason, the old man’s hallucinations are taken seriously by everyone around. If in other movies, a psychic is consulted for personal reasons, in this movie the Police notes down his hallucinations to prove cases.
A minister has been killed in a bomb blast and everyone’s looking for a killerwoman.
Enter Bharath, who looks at finger prints and go- “This does not look like a woman’s fingerprints, killerwoman is a man!”. WOW! TWIST!
Hello, Nobel Prize Committee. Please give the year’s Nobel in Chemistry to Bharath Patteri for his exasparating farrago of distortions, misinterpretations, and outright lies in the field of Forensic Science.
Bharath, like his brother, is not at all appreciative of his colleague Meena Nambiar, a bold police officer (like Anuradha). After a while, we will see that they are chaddi buddies once she starts wearing Saree. What the actual fuck is happening here?
So, they go in search of killerman, but finds him dead. Bharath hunts down some phone records and finds out it was DGP, State Police, the brain behind the bomb blast who himself had asked for SIT. Everyone’s happy. Fin!
What does Bharath and Joseph have against IPS, we will never know.
The King was released in 1995 and The Truth in 1998. In The Truth, actor Augustine makes a reference to “old wine in new bottle”, which I think is quite meta. I really don’t understand why they made The King and The Commissioner, when they could have easily made The Twins. Like, seriously. If you are struggling to make this old wine into a new bottle, I hope this helps
Find the Malayalam version by Last Caveman, here.