The pseudo moralistic nature of the society, the hypocritical opinions, the voyeuristic tendencies and the changing equations in relationships are being handled in a philosophical way, which is seen not so often here. This evidently makes the film seriously different, in spite of the flaws.
Rashid (Lal) is an NRI, who is in a hurry to marry his daughter (played by Riya Saira) off, as she is having some boys as her friends. One night, Rashid and his friends including Suran, an auto driver played by Vinay Fort, are having a booze party inside an unoccupied room right outside his house.
After the celebration, a sloshed Rashid is tempted to have sex with a prostitute, played by Sajitha Madathil. Suran locks the two inside the room and goes out to buy some food. In between, a struggling filmmaker named Manoharan (Sreenivasan) too becomes part of the action.
The drunk Suran is caught by the police and this leaves the hapless Rashid and the woman inside the room. In the course of some hours from then on, Rashid learns some new lessons about life.
Joy Mathew, who played the lead in John Abraham's Amma Ariyan years back, comes up with a superb concept here. But the presentation definitely lacks perfection and the story moves along without a definite direction, after a good opening. But the film perhaps succeeds in making the viewer relate to the peculiar situation that the characters are in and surprises you with some genuine thoughts.
On a philosophical level, most of the characters are epitomes of hypocrisy, which obviously make them spectacularly original. Rasheed is in a hurry to get his daughter married, which for him is an easy solution to her friendship with some of her classmates. Manoharan gives free advices but he never comes forward and volunteer to help the couple, who gets trapped inside the shutter.
Suran is a nice guy but irritatingly naïve at times. Remember the way he covers his head with a towel, when Manoharan tell him to do so. After a while even he is peeping into his friend's house, under the shelter of the shutter, which is a pointer that he is not what he pretends to be.
Rashid's friends show their real face, when they are alone. Manoharan turns out to be too selfish. Unlike in usual films, the friendships, camaraderie and the liking for new technology of the younger generation have been handled in a matured way here, which needs to be appreciated as well.
Shutter has several dimensions and that is exactly what makes it special. On the flipside, it is being narrated through the eyes of a few men with scant regard for the emotions of the women in the story. The performances of the actors enhance the film's appeal to a great extent. Vinay Fort, Lal, Sajitha Madathil, Sreenivasan and Riya Saira have all done their roles quite efficiently.
Yes, Shutter could have been much better. But even in the current form the film is far ahead when compared to some of the celebrated movies in Malayalam during recent times. Go for this one!