Kirubhakar Purushothaman

By now, plasticity has become a sort of director Karthick Naren’s style. A sense of juvenility creeps in with the premise and setups of the director, despite a fairly decent execution and technical competence. A sample of such contrived writing comes even at the beginning of the first act when one of the protagonists, Sri (Dushyanth Jayaprakash), argues with his parents to let him own a mobile phone. The deliberation to establish that the character doesn’t have a cell phone is to thwart the audience from finding any logical loopholes. The problem with such writing renders Nirangal Moondru staged and artificial, distancing the audience from the characters and their stakes.

Zebra, the film’s title, could denote the game the characters play with black and white money (they call it sugar) throughout the film. It could also mean the colour grey you get when the two stripes of the animal are mixed–which would be the moral tone of almost all the characters in the movie. Incidentally, that’s how you feel about the film as well. It is neither a smooth entertainer nor a problematic drag. In essence, Zebra is an over-the-top heist thriller that is more about entertainment and less about logic and other rational thoughts. As it gets the entertaining part right, it overshadows even its worst flaw.

“The funny thing is… on the outside, I was an honest man, straight as an arrow. I had to come to prison to be a crook, “Andy Dufresne (Tim Robbins) says with his sarcastic wit which leaves Red (Morgan Freeman) cackling in one of many incredible scenes of The Shawshank Redemption. Pathiban (RJ Balaji) says almost the same lines in Sorgavaasal but no one’s laughing here, because Sorgavaasal is a bleak world with no room for such humour. Here things are bloody and violent, and unlike the Hollywood classic, there’s no room for home in the pessimistic world of Sorgavaasal.

Towards the third act of Amaran, Major Mukund (Sivakarthikeyan)’s father asks him, “Why is Kashmir always in trouble?" This is a crucial moment, though it is shot with a matter-of-fact tone — reflecting the overall style of the movie. It is significant because it is the only time we gain insight into Mukund’s opinion about the politics behind the bloodshed and violence in one of the most volatile regions of the country. It’s essential to understand what a soldier thinks about the politics that have placed him in a situation where his own life is at risk.

Bloody Beggar, directed by Sivabalan Muthukumar, is another bold choice by lead actor Kavin. However, it doesn’t fully deliver on its promising premise and ends up falling short in several aspects. At its core, the film struggles to find a consistent tone. It aims to be both a biting dark satire on the bourgeoisie and an emotional drama about the downtrodden, but it achieves more success with the former than the latter. The satire works to an extent, presenting exaggerated caricatures of villains who are repulsive enough to justify the violence directed at them. This offers moments of catharsis and even a few laughs at their expense. However, the emotional core surrounding the nameless beggar’s tragic past feels underdeveloped and fails to resonate in the cold, dark world of the film. Additionally, much of the humour, despite evident effort in the writing, doesn’t land as intended, making Bloody Beggar fall short of its full potential.

Sir is one of those formulaic Tamil movies with a strong cause or message it wants to put across and doesn’t mind doing so at the cost of being a didactic and dated. The style, writing, brevity, and everything that makes up for a superior form take a backseat in Sir as Bose Venkat prefers coming across as an activist to a fine filmmaker. While Sir has a noble cause at its core, the execution makes it a yarnfest, and instead of getting the catharsis such social commentary aims to provide, the film invokes a sense of guilt for feeling so.

All Rajinikanth films have some default settings. It doesn’t matter who directs him, they have to play by these rules or around it. Experimentations by the director are allowed but within the frame of the boilerplate. The success then comes down to how the proverbial ‘director’s touch’ syncs with the template of a superstar film.