3.5 / 5.0
By: Rajarajan V.S.
***** SPOILER ALERT !!! *****
This is not a kind of spoof flick in which popular set pieces are merely spoofed and put together by exactly imitating the original ones, except for the actors enacting in a silly way. Sounds like a cliche that is exclusive to the spoof genre right? Tamizh Padam 2 is a notch above the regular spoof flicks as the witty mind of Amudhan kicks in. Of course this movie is all about spoofing popular set pieces. What is innovative is that the spoofing is treated as raw material in order to make it pliable.
Over all these years, Tamil cinema has witnessed many cult cop episodes. Amudhan too opts to narrate a cop episode. The protagonist versus antagonist conflict is what drives a cop episode. Amudhan implements such a conflict. The hero-heroine track is what sweetens the spicy proceedings then and there. Amudhan implements such a romance track too.
The protagonist intro is what sets things up. Amudhan does that. He keeps us guessing for a while how the protagonist, Shiva, is going to put a full stop to the riot. The pot is boiling. Amudhan answers the audience’s question by spoofing a popular set piece. The riot subsides, but the audience are in for a laughter riot.
The antagonist intro ought to be terrific such that the protagonist gets a tough opponent to win. Amudhan does that too. The antagonist, Pandya (played by Sathish), baths in a pool of blood. He has a merciless hit-woman working for him.
The heroine should look pretty, be naughty and fall for the hero instantly because the hero is naturally a lover boy. Amudhan does that too. The heroine, Ramya (played by Iswarya Menon), is such a character.
Now, the proceedings. Amudhan has laid an intriguing foundation, which is a spoof of popular stories. All he has to do is narrate the spoofed stories using popular set pieces. He evaluates the director in him as one of the audience. He has understood and analysed the audience pulse well. The smartness in the screenplay is that beyond the spoofed content, there is extra-ordinary comedies. This is the methodology with which Amudhan outshines. He even makes this movie qualify as a multi-genre spoof with his methodology. Amudhan keeps the movie alive throughout. He gets us high on laughter every now and then. There is never a dull moment, except for the terribly misplaced kalavarame song.
Shiva makes a phone call to the Prime Minister of India and asks him to implement demonetisation. The spoofing is done. What is extra-ordinarily comical is that, suddenly his buddy’s call is incoming from another line. Shiva hangs up on the president.
The name of the antagonist, Pandya, itself is a spoof. Yet all call him ‘P’ (shit). Pandya dresses up as Vishwaroopam’s antagonist. He is in a flight in the skies. The popular phone call connecting the protagonist and antagonist happens. The spoofing is done. What is extra-ordinarily comical is that Pandya is on the call with Shiva as he is standing on the foot-board with the main door open in the flight in the skies.
Pandya’s hit-woman is the girl boxer from Irudhi Suttru. The spoofing is done. What is extra-ordinarily comical is that she kills people by jumping on to them and hugging them tight. The use of the soundtrack ey sandakaara from Irudhi Suttru while the boxer murders people is ultimate black comedy.
The heroine, Ramya, gets to play the spoofed version of popular heroines. What is extra-ordinarily comical is that every time, a spoofed heroine she plays gets killed insanely, thus boiling out as black comedy.
Even the backdrops in every scene score for themselves. For instance, Shiva watches news on National Geographic and HBO television channels. In a roadside tea stall, menu contains croissant and Peking duck. In the police headquarters, there is a department of frisking illegal VCDs and the head is Vishal.
Speaking of the songs, kalavarame should not have been there. There is an instance in the second half where the couple almost initiate a song, but Shiva comments that the song will create lagging issue in the proceedings and so they withdraw from it. The same should have been thought of in the case of kalavarame.
Naa yaarumilla has its moments with the lyrics. Evada unna petha is a soup song exclusively for girls. The ideology behind it is uniquely interesting. Vaa vaa kaama looks a bit of place, yet the happenings in the background make it funny. The other 3 songs are among the highlights of the movie.
Shiva is so causal in every thing he does. He is not conscious of the camera. He does not allow his senses to boast on screen. The curve of his comical acting is pretty much inside the director’s graph. He is also aware of the fact that he must not go insane.
Sathish too is in the same form as Shiva. The chemistry between him and Shiva works big time. Chetan as the police commissioner is bang on with his timing. The chemistry between him and Shiva is enjoyable. Even some of the actors in the background have their moments with their one-liners.
All in all, This multi-generic burlesque of cinema, television series and politics from local to international, is a laughter pill we can swallow anytime, as we go gaga over it.
The Tamil movie, ‘Tamizh Padam 2’, is reviewed by Whistle Adi’s film critic, Rajarajan V.S.
Cast: Shiva | Sathish | Iswarya Menon | Disha Pandey | Kasthuri | Manobala | Santhana Bharathi | Sundarrajan | Ravi | Chetan.
Crew: Writer / Director: C.S. Amudhan | Cinematographer: Gopi Amarnath | Editor: T.S. Suresh | Music Composer: N. Kannan | Stunt Choreographer: Dhilip Subbarayan | Art Director: Senthil Ragavan | Dialogue Writer: C.K. Chandru | Dance Choreography: Kalyan | Costume Designer: Sruthi Kannath | Lyricist: Madhan Karky.
Production: Y Not Studios – S. Sashikanth
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