By Kaushik Nath
After years of anticipation, Drishyam 3 directed by Jeethu Joseph finally arrived carrying enormous expectations on its shoulders. The first two films had already created a benchmark for Indian thriller cinema with their intelligent writing, emotional tension and unforgettable twists. Naturally, audiences expected the third installment to raise the standard even further. Since the film released in only a few theatres across Northeast India without a Hindi dubbed version, many viewers found it difficult to watch. Somehow managing to catch the film in Guwahati itself felt like an experience because the Drishyam franchise has developed an almost cult-like following over the years.
The story picks up several years after the events of Drishyam 2. Georgekutty, once again portrayed with remarkable control by Mohanlal, has now transformed the novel inspired by his own life into a successful film project. The movie becomes a massive commercial success, but at the same time, it revives old suspicions among those who never fully believed Georgekutty’s innocence. The past once again begins to return slowly into the family’s life, not through direct confrontation initially, but through emotional pressure and social isolation.
At the centre of the story is Georgekutty’s attempt to arrange a marriage alliance for his daughter Anju. However, every attempt made by brokers fails because the family still remains trapped under the shadow of the old controversy. The trauma from the past refuses to disappear despite the passage of time. This becomes one of the emotional foundations of the film. The family wants to move forward and live normally, yet society continuously reminds them of what happened years ago. Matters become even more disturbing when they realise that many of these obstacles are not accidental but carefully orchestrated.
One of the strongest elements of Drishyam 3 is the atmosphere it creates during the first half. The narrative adopts a “movie within a movie” structure, giving the story a slightly experimental tone compared to the earlier films. There is a constant feeling of discomfort throughout the film. Even ordinary conversations carry hidden tension. Every scene feels like it is preparing the audience for something larger and more dangerous. This psychological uneasiness becomes the film’s biggest strength in its initial portions.
Mohanlal once again proves why Georgekutty remains one of the finest characters in Indian thriller cinema. His acting has become even more subtle and restrained with age. Instead of dramatic expressions, he uses silence, pauses and body language to communicate fear and calculation. Georgekutty appears exhausted mentally but still determined to protect his family at any cost. He constantly balances fear and normalcy, trying to appear calm while carrying the burden of secrets that continue to haunt him. His performance is undoubtedly the emotional backbone of the film.
At several moments, the film genuinely succeeds in making the audience nervous. The screenplay continuously suggests that something major is being planned behind the scenes. Georgekutty’s actions appear mysterious, and viewers keep trying to predict his next move. This buildup creates curiosity and keeps the audience engaged for a considerable period.
However, despite these strengths, the film ultimately struggles to reach the emotional and narrative heights achieved by its predecessors. The biggest weakness lies in the writing itself. After the brilliance of Drishyam and Drishyam 2, matching the quality of those scripts was always going to be extremely difficult. Unfortunately, the third installment falls noticeably short in terms of emotional impact and storytelling precision.
The first half especially suffers from repetitive scenes and sluggish pacing. A large portion of the narrative revolves around family discussions at the dining table and conversations regarding Anju’s marriage proposals. While these scenes are meant to establish emotional realism, many of them feel unnecessarily stretched. Instead of increasing emotional investment, they slow down the momentum of the film. The screenplay spends too much time building atmosphere without providing enough narrative movement.
The interval block introduces a surprise element that initially raises expectations again. It feels like the story is finally preparing for a major shift. However, the problem is that the payoff never fully matches the buildup. Throughout the film, the screenplay repeatedly hints that Georgekutty is planning something extraordinary. The audience expects another masterstroke similar to the shocking revelations from the earlier films. Yet when the climax finally arrives, the twists feel comparatively smaller and less impactful than anticipated.
This becomes the central disappointment of Drishyam 3. The film constantly creates suspense around Georgekutty’s intelligence, but the eventual revelations do not generate the same sense of amazement that defined the earlier installments. Instead of leaving viewers stunned, the climax feels restrained and somewhat underwhelming. Many scenes that initially appeared mysterious lose significance once the final truth is revealed, making portions of the buildup seem unnecessarily exaggerated.
The second half does improve slightly once the family drama takes a backseat and the investigation becomes more active. The pacing becomes tighter and the tension increases in parts. Yet even here, certain distractions weaken the narrative flow. Some scenes involving brand promotions through dialogues feel forced and completely unnecessary in a thriller of this nature. Such moments interrupt the immersion and reduce the seriousness of the atmosphere.
Another issue is the handling of one returning villain character. Instead of creating fear or psychological pressure, the character’s comeback appears strangely comical at times. This weakens the conflict considerably because the earlier films succeeded largely due to the intensity of the threat surrounding Georgekutty and his family. Here, that threat never feels as powerful or emotionally devastating.
One major reason why the film struggles emotionally is because the earlier Drishyam films balanced suspense with deeply human drama. The audience cared about the family, feared for them and emotionally invested in their survival. In Drishyam 3, the emotional connection feels weaker despite the familiar characters returning. The focus remains heavily on suspense mechanics, but the emotional weight underneath those mechanics feels comparatively lighter.
Still, the film is far from unwatchable. Jeethu Joseph remains a filmmaker who understands how to maintain tension even during slower sequences. The technical aspects, including background score and cinematography, support the uneasy atmosphere effectively. Mohanlal’s performance alone keeps many scenes engaging even when the screenplay weakens. There are moments where the old brilliance of the franchise briefly returns, reminding audiences why the series became so iconic in the first place.
The climax also hints strongly at the possibility of a fourth installment. This ending appears designed less as a complete conclusion and more as preparation for another continuation. Whether this future installment will finally deliver the emotional and narrative impact audiences expect remains to be seen.
Overall, Drishyam 3 is a film trapped under the burden of its own legacy. It attempts to recreate the tension, intelligence and emotional complexity that made the earlier films legendary, but only succeeds partially. The atmosphere remains gripping, Mohanlal delivers another excellent performance and several scenes create genuine nervousness. Yet the screenplay lacks the sharpness, emotional depth and unforgettable surprises that once defined the franchise.
For viewers entering with moderate expectations, the film still offers an engaging thriller experience. But for those expecting another groundbreaking masterpiece like the first two films, Drishyam 3 may feel like an incomplete chapter that relies too heavily on nostalgia and anticipation rather than delivering truly powerful storytelling on its own merits.
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