Srivathsan Nadadhur

Men and machines. It’s a love story that defies logic. The soulful 2024 Tamil film Meiyazhagan explored the relationship between the protagonist and his cycle, and what the vehicle really meant to him. “In a way, this cycle coming into our lives changed it completely,” a teary-eyed Karthi tells Arvind Swamy in the film. G.D.N kickstarts proceedings with this fascinating emotion. A young Gopalaswamy Doraiswamy Naidu (GDN) follows an Englishman around for two years — not because he wanted to be friends, but because he was besotted with the motorcycle that he was riding. A few minutes into the film, a star-stuck Dorai asks the Englishman (who he ironically also calls ‘Dorai’ which means ‘master’) if he can sell him the motorcycle.

Das and the members of a rebel gang attack a moving police vehicle to seize weapons, triggering a nationwide crisis. They also kill an officer responsible for a farmer’s custodial death. The events push the police force, led by a cop, Bhojraj, to initiate a hunt for the gang and the weapons. While on the run, Das meets two women, Parvathi and Chandra, who change the course of his life. Lokesh Kanagaraj makes an assured acting debut in a role with minimal dialogue, compensated by the abundant rage in the action sequences. He stays true to the nature of Das without trying to oversell his presence. Sanjana Krishnamoorthy is elegant in a brief yet impactful appearance. The soul of the film, though, comes through Wamiqa Gabbi’s portrayal of Chandra, who refuses to be boxed into yet another traumatised prostitute. She brings resilience, vulnerability and dignity to a woman who wants to be seen beyond her flesh. The ensemble cast, comprising Krish Dayal, Sharath Ravi, Avinash Raghudevan, Jawahar Sakthi and Balaji Devi Prasad, all make their mark in well-etched roles.

Ikka refuses to be a simple good versus evil drama. Two men- a star lawyer, Arjun Mehra, and Shauryaman Gaur, a spoilt kid of an influential politician- who are at loggerheads with each other personally and professionally, are forced to come together for an attempted murder case. An underdog lawyer, Madhura Banerjee, serves as the public prosecutor. Sunny Deol and Tillotama Shome deliver credible performances among the leads. The former genuinely surprises you with his restraint in the need of the hour and enjoys going ballistic occasionally. He appears composed and unperturbed within the courtroom and transforms effortlessly into a man consumed by guilt back home. Tillotama is as assured as ever with a confident portrayal of a rookie lawyer.

After their troublesome Intermediate years, Sammy, Milky and Sid are all pumped up for their engineering life. On day one, Sid is instantly attracted to Goldie, an NRI girl and gifted dancer. She turns out to be his classmate and soon joins their gang. But while they are being ragged, the gang earns the wrath of a senior, Suhas, who starts harassing Goldie. Sai Sriram Vemparaala looks right for the part, is confident and has a camera-friendly presence. The girls in the gang, played by Sindhu Reddy and Geervani Reddy, are just about okay. Anthony Karthik fails to tickle your funny bones while Bindu Madhavi, in a cameo-like role, passes muster and is expected to have more prominence in the later episodes.

Five years after the turbulence within the family, the powerful Atwals are at war among themselves. Papaji, after his jail time, still tries to pull strings to keep his crown. Meanwhile, Rinku teams up with his real father, Mahinder, to take over the family business. As their crimes grow darker, DSP Ghosh returns for one last mission to solve the mounting mysteries. The performances, just like the writing, are standard and basic. They work, but there is nothing special about them. Among the cast, Ankur Rathee’s acting style feels very modern compared to the rest. His expressions and responses are precise and stay true to the show’s world. Surya Sharma’s physique and personality make him an obvious choice to play Rinku, but the performance lacks vigour, which is partly due to the role itself.

Brothers Dev and Ravi return home to Shaktigarh to find the person who brutally attacked their sister Gudiya. In pursuit of truth, they have a hard time dealing with their cold, distant father, Raghubir Singh. Their search leads them through a dangerous world of rival boxing clubs, undercover missions, and police chases. As Ravi fights his way towards Olympic trials, they also uncover a web of secrets. The casting choices and the performances in the show are generally neat. Apart from the chocolate boy looks, Pulkit Samrat’s athleticism is a major advantage for his portrayal of Ravi; you naturally buy his zeal to succeed in the boxing ring. Divyenndu Sharma plays the troubled, disgruntled son with assurance. His body language and expressions suggest what the character may have endured for years.

Prashant and Jimmy both struggle for power in two different worlds. Prashant fights through the cutthroat Mumbai film industry to build an acting career after a personal setback. Meanwhile, Jimmy uses his skills as a master salesman to wage a bitter political war against his uncle. As their paths grow darker, both men must decide if they are victims of fate or masters of their lives. Ambrish Verma, also the director of the show, picks the messier role, stepping into the shoes of a roughened-up mard who is bleeding within. Besides portraying his massy, action side with ease, he mirrors the character’s vulnerabilities effectively. He depicts Jimmy as a broken man without going overboard.

A disappointing trend among Telugu filmmakers is the desperation to hold on to a specific genre or storytelling style and overuse it till the novelty wears off. It is like a magician relying on the same trick until the secret is laid bare. Director Ritesh Rana’s quirky, parody-style narratives set against crime — seen across the Mathu Vadalarafranchise and, to an extent, Happy Birthday — were one-of-a-kind when they first arrived, with the mark of a storyteller with a unique voice. With Jetlee, however, it appears as though his signature style has overstayed its welcome, struggling to offer anything new.