Flat numbers are seldom used to weight horror films. In 99/66 however we have a very simple numerical sign to be the most disturbing element in the narrative. The number is like a coded warning, yet to be unlocked as the story unfolds, and is located in a small apartment complex in Chennai. In this limited sense, director M.S. Moorthy creates his first, and turns the home environment into an anxious environment.
The movie starts on the well-known territory. The characters of Rachitha Mahalakshmi and P. Sabari, Sangeetha and Guna, have just entered a recently purchased apartment, hoping to have a peaceful life. The apartment is typical. The neighbours share pleasantries and day to day life goes on without a snag. One of them is Ranjitha, who is played by Swetha Dorathy, and who immediately bonds with Sangeetha. These early experiences render the film a slice of life sensation, which is soft and gentle.
This serenity is no accident, and it works. The story gives the audience an opportunity to relax within the tempo of the building prior to the inclusion of disturbance. Sluggishly, turmoil is beginning to surface. We hear odd sounds clanging up and down the corridors, things move without any explanation and some kind of silence tension exists. These are scenes that are more conducive to discomfort than instant dread.
Moorthy chooses to go slow in building. It improves the mood, although in some cases, it interferes with the clarity of the stories. The initial sections are disjointed, with various unaccounted events which do not have any explicit links. Even though this ambiguity maintains the interest piqued, it is also threatened that such ambiguity will be a challenge to forbearance.
It gives the story a twist with Ranjitha. Sangeetha suspects that her friend might be in trouble, she rushes to the flat with neighbours only to find it empty. Icy fact is evident in the inhabitants. Real Ranjitha was already murdered. The revelation is what gives all things a new angle. The woman Sangeetha made friends with is no longer a riddle of situations, but of life.
It is at this stage when the movie completely indulges the supernatural. Questions emerge quickly. Why is it that only Sangeetha can see Ranjitha? Why is she holding on to the apartment? What are the happenings in the past that are not being sorted out in these walls? The house turns into a residence into a box of secrets that have been buried.
Another top is provided by a repeated owl pattern. The bird will come out whenever the president of the apartment association attempts to drive out late one night. It appears at the outset that something odd is afoot but gradually the thought that something is withholding the truth in the building creeps in. The idea is not yet fully-fledged, but it adds to the spooky feel of the movie.
The latter half gives the unity which the former half refuses. Isolated cases begin to relate with each other and a crime of the background of the apartment is unveiled. The movie connects its supernatural aspect to human behavior, basing its horror on emotional tragedy, as opposed to spectacle. This provides the ghostly presence with some purpose.
It has a clean resolution of the story at the end. There are turns that are predictable, particularly to viewers that have watched the film before, yet the ending is still effective. The movie does not have undue complexity, and instead opts to have a simple ending that fits in the movie.
Rachitha Mahalakshmi, is the lead actor in the film with a determined act. As Sangeetha, she presents the story with an iron fist and brings the fear and confusion and the mental strain under control. The manner in which she moves, particularly at the points of supernatural impact is handled with a subtle touch.
Swetha Dorathy makes a powerful impression with a minimum screen time. Her role in Ranjitha has this sort of silent emotion, which adds to the major tragedy in the movie. P. Sabari and Rohith Chellappa perform their roles rather subtly without disrupting the realism. Supporting characters, such as Vaiyapuri and Singampoli offer some light relief without breaking the mood.
The technical aspect of setting the film has been applied well considering that the setting of the film is limited to one setting. The camera movements are based on narrow corridors, poor lighting and claustrophobic spaces, which further support the theme of entrapment. The camera is frequently kept still and the tension is created. It is worth noting that the sound design is used, especially in the supernatural scenes where the sound is the cause of the disturbance.
Although it has its advantages, the movie is based on a time-tested formula. A haunted place that has a crime that occurred in the past is a trite concept of the genre. This fact makes some of the developments predictable, and timing issues of the second half sometimes lead to the slow down of the pace.
Nevertheless, the movie manages to create a captivating ambiance. Its setting over spectacle is to its advantage and several jump scares are successfully achieved with the help of sound and timings.
In conclusion, 99/66 is a tiny, but fun horror thriller. It does not attempt to redefine the genre, but offers a consistent mix of mystery, supernatural tension and emotional underpinning. Its main performance is very strong and the setting is very interesting which helps it to keep the viewer focused although it may not leave a lasting impression on the viewer.
Rating: 2.8/5
