Based on the 2012 American genre film “The Possession” from Ole Bornedal, director Jay K. attempts a Malayalam-centered effort on the same premise for this supernatural spookfest. Focusing heavily on the Jewish culture of Kerala where it was filmed, the overall effect is a slight downgrade from the American original but is still quite enjoyable and features a few merits of its own.
Buy This Title
After moving into a new city due to work, Ranjan Mathew (Prithviraj Sukumaran) and his wife Priya Raghuram (Priya Anand) try to adjust to the differences in culture but are unable to do so. When she decides to go shopping one day in order to help acclimate herself to the city, she takes an interest in a special box from an antique store and brings it home, only to immediately find themselves inundated with a series of paranormal encounters. Ranjan's uncle Father Samuel (Vijayaraghavan) is called in to help but is unable to, and instead points them towards a friends' son, Rabbi Marques (Sujith Shankar) who reveals the box's history involving a doomed romance and a cursed Jewish demon known as a dybbuk. Forced to take drastic action when the demons' true intentions are revealed, they race to save themselves and their family from the spirit.
Overall, “Ezra” has a lot to like about it. Among the main positives is the stellar mixing of Jewish faith and a supernatural genre film through Jay K's great script. With the Jewish faith being an untapped and unexplored source for genre thrills in domestic and foreign cinema, the way this plays with the confines of the religion for its scares is quite impressive. Tackling the source of possession through the rituals and tribulations featured in the funeral processions, burial rituals, and the social constructs of Abraham and Rosy's relationship at the heart of the possession all feature something intriguing to the final story. Given this nature of backstory building so that the impetus and motivation for the ensuing activities have a grounded starting point, the exploration that Ranjan follows leading into the grand twist about the target for the possession and the methods of containing the murderous spirit are impressive.
When it comes to dealing with the more traditional genre elements, “Ezra” works quite well. Due to the first half presenting itself as a mystery, the initial encounters are filmed through shadow and suggestion which hides the protagonist effectively. These result in scenes showing tragic accidents with their unnatural actions projected through shadow onto an opposite wall or crashing through walls from outside. The supernatural hauntings towards Priya take on a rather fun routine of her being suspicious of something in a room, receiving a flash-vision of a ghost in the area, and darting away only to be startled by someone else coming upon her and help to bring about a generally enjoyable atmosphere before getting to the realization of the haunting taking place. Though by themselves brief in duration, the frequency of the incidents establishes a great tone, leading into the central exorcism to be performed at the end. This sequence is the expected extravagant, over-the-top display usually associated with the genre. Featuring full-on levitation, people and objects flying through the air with regular abandon, tons of screaming as well demonic voice-altered shouting and threats, it's a fun time and helps to end this one on a positive note.
That said, there are some problems present in “Ezra.” The biggest issue is the somewhat unwieldy length that takes into account several side stories and subplots that aren't really necessary. A.C.P. Shafeer Ahammad, the detective investigating the initial murders at the jewelry store, is so clumsily written into the film that he disappears for extended lengths of time and isn't missed at all. Likewise, the constant cutaways to show Ranjan at work at the nuclear facility undergoing meetings to get briefed on his job or show what he goes through on a normal day aren't as interesting as the paranormal incidents happening at their home. This can then feel like intrusions on the main plotline. The other factor, which won't be a universal drawback at all, is the twist involving the true identity of the possessed individual, coming across as a ploy to trick the audience for no purpose by including the body-hopping guise simply to pull it off. Some might not be that put-off by the trickery but some viewers might not enjoy this kind of surprise that doesn't fit in the rest of the film. Otherwise, there isn't much else to dislike.
A generally enjoyable and fun genre movie that does have a few minor issues about it, “Ezra” becomes rather likable as a slick genre effort that manages to hold itself up over the few minor drawbacks that emerge. Give this a like if you're intrigued about the production in a new country or just a fan of supernatural films such as this, while those who aren't into this style will have to heed caution here.
