Sriram Raghavan’s “Merry Christmas” unfolds a captivating narrative, two decades post his emergence with “Ek Hasina Thi.” This time, the focus is on a charming woman confronted by a stranger, evolving into a mother with a concealed secret. Against the backdrop of Christmas Eve in Mumbai, the story, adapted from Frederic Dard’s novel, introduces Albert (Vijay Sethupathi), mourning his mother’s death, who encounters the enchanting Maria (Katrina Kaif) at a restaurant.
Raghavan, influenced by Hitchcock, artfully weaves a tale with a slow-burn, blending melancholy-witty conversations on unfulfilled love. The film is enriched with literary and cinematic references, creating depth in dialogues and a pulpy feel reminiscent of a paperback edition. The narrative’s seamless build-up benefits from smart surprises in editing, mysterious sound design, and Pritam’s unintrusive compositions.
Katrina and Vijay’s performances shine, complementing each other, while Sanjay Kapoor adds a slimy touch. Katrina, cast in a cerebral role, delivers beyond the appearance of a seemingly innocent woman, capturing the essence of a complex character. Vijay’s portrayal of Albert, entangled in Maria’s mystique, turns a hopeless hero into a winsome experience.
Despite the film’s noir suffering from translation challenges, it boasts repeat value akin to Raghavan’s previous works. The crime and big reveal from the novel encounter difficulty in visual adaptation, yet the stagy enactment of the climax, hanging like a postscript, demands a benefit of the doubt.
In essence, “Merry Christmas” beckons viewers to watch not just for the crime but for the anticipation, echoing Hitchcock’s suspenseful style.
