Jigarthanda XX (2023)

 

I haven’t seen the first Jigarthanda, already hailed as cult, like breaking into a wine bottle before it matures. I have only S.J. Surya to look forward to, him being the most original performer in that industry since Vijay Sethupathi, both whom would always bring something extra to the table.

But the leading role is Raghavendra Lawrence’s, him having another go at okayilead roles after stints as dance choreographer. He is much better here than the horrid, putrid Chandramukhi 2. Interesting that he is appearing in a sequels the second time without having been in the ounlike Chandramukhi though, he is fine here, convincing as  a chaotic illiterate tribal gangster in the middle of disputes and investigation by authority over some purported crime.

I have no clue as to why Clint Eastwood is in the middle of it all, the CGI rendering of him looks embarrassing, but if the fanboys can find some symbolism, well, so be it. I know that there’s some sort of tribute to spaghetti western is going on here, but to director Karthik Subburaj’s credit, he managed to create a world of his own.

And then there’s S.J. Suryah delivering uncharacteristically subtle performance with occasional trademark eccentricity showing up. He's supposed to be the sane voice amidst the madness that’s going on, and like the little camera he holds the entire film, somewhat posits him as the narrator.

Otherwise the film can be overlong for us to enjoy the supposed frolicking madness that ensues taking us from streets of Madurai to the luah forest where the characters colkyde with real and CGI elephants. Once the creatures are in – and here’s remembering the late producer Thevarwhois fond of casting animals in his flicks – you know that the messages are coming. There’s direct political satire at work here, as well as other messages on animal rights and tusks smuggling that has authorities dirty hands behind the nefarious activities.

It just gets messy. Balancing the sub plots with what could have been a bit of character-centric storytelling seemed not to be Tamil film directors’ forte, and Karthik Subburaj is not an exception. The performances of the lead duo has something going for it. I fine Santhosh Narayanan's background score a relief from the sonic assaults of Anirudh of recent. Also, there’s some important ambition somewhere in it, but I suppose I missed it.