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Vijay Sethupathi is one of India’s most accomplished actors. But I am afraid this time he misses the marquee by a wide margin.
Not that he is not effective. Most of the time he is. But the movie and its shrill tone of political satire is predominantly hysterical so amplified and awkward Sethupathi doesn’t know where to pitch his tent.
He plays a political wannabe named Singam so crazy about getting a party ticket that he is willing to do anything to please his political leader Rayappan played by Partibhan.
The two actors have played against one another in an earlier comedy Naanum Rowdydhaan where they had some meat in their mirth.
Here it’s just bones skeletal satire blown up to ridiculous proportions to generate the kind of humour that amuses only intermittently and that too because you want to be polite to an actor as distinguished as Vijay Sethupathi.
When we first meet him he is seen bounding up a dais holding his idol Rayappan after the political despot asks for a glass of water.
Immediately we know Singam is servile opportunistic sneaky and cheesy.
Sethupathi does all of that with a veteran’s aplomb. But it’s all vain what with the plot displaying more holes than the main road after a shower of monsoon.
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The drained out humour which includes a violent tick on Sethupathi eye which transforms him into a humanized entity and the bouts of social conscientiousness do not go hand in hand.
They leave the proceedings as limp and lifeless as a wound-up doll that has just been crushed under heavy feet.
The political mentor pupil drama in Tuglaq Durbar done so brilliantly in Rahul Rawail’s Arjun never rises above the spasms of banality that crops up intermittently to give the movie the look of a work in progress, not quite sure where it going.
The relationships remain largely unexplored even the one between Sethupathi and Partibhan. The two actors look like a pair of lions waiting to be told their next move.
Sethupathi has a sister with whom he doesn’t get along with. When she gets sexually harassed at her workplace he turns a blind eye.
Until that moment when he reforms. Just how and when that moment of self realization creeps up on the creepy plot is incomprehensible to those of us watching this tiresome political satire from the outside.
Like some of the people in political power, you just wish for it to end.
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The anthemic Annathe Sethi from Tughlaq Durbar that released last year had me looking forward to a bold political satire that the movie is not. While it doesn’t match the fiery intensity of the song it is amusing and engaging.
Just not particularly deep. Beyond lampooning political careers as one driven mainly by blind ambition and greed it makes little attempt to really cast light on the issue of land grabs which is the driving crux of the plot.
In wanting to highlight the fact that such land grabs happen because of political corporate nexuses the movie dilutes itself by randomly making NGOs the scapegoat. If you’re willing to ignore these aspects, Tughlaq Durbar is breezy, fun to watch and has some great comic timing.
Singaravelen or Singam as he’s fondly called, is a man born into politics. No really, he’s born at a political rally. Rayappan an ex-MLA of the fictional MMMK, is a powerful figure in the party.
Singam like in the traditional telling of heroic tales has a momentous birth. In his case, in the middle of Rayappan’s speech. Only he’s not much of a hero. His is the story of a selfish man too clever for his own good or of those close to him.
Foreshadowing the upheaval Singam will grow up to create in the party and Rayappan own unwitting hand in it the latter magnanimously gives up his vetti to create a temporary tent for the baby’s delivery, forcing the other cadres to do the same much to their chagrin.
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