Tamizh Padam 2
Tamizh Padam 2: Laughs Galore
Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)
Directed by C.S Amudhan, Tamizh Padam 2 is a satirical take on Tamil films, Tamil heroes, and Tamil Nadu’s political scenario. If you’ve been tired with the inflated egos of Tamil mass heroes and the heroines whose main criteria is to act dumb, you’ll have a ball laughing endlessly at the film. Though one must appreciate director Amudhan for cleverly detailing and sculpting each and every frame with something to look forward to, the second half doesn’t live up to the hilarious first half.
Shiva (Shiva) is an undercover police officer with the power to put millions to sleep using just his oratory skills, in the very first rescue mission he is assigned to; he loses the love of his life (Iswarya Menon) to a mobile-phone blast. An angered Shiva then transcends across time, place and people to avenge his lover’s death by going after the villain P (Sathish). The situations, characters and the various women he falls in love with in the process of defeating P forms the crux of the story.
One of the most refreshing aspects of Tamizh Padam 2 is the manner in which it brings people from all walks of life together to laugh at the obnoxious Tamil films that made us wonder how they even made it to the silver screens. For all the money you’ve wasted buying tickets and popcorn at a bad film, you get to laugh and find a great outlet in this one.
Director C.S Amudhan has ensured that the humor has enough variety to reach a wide plethora of audiences. Women can finally celebrate a drunk ‘male-bashing’ number called ‘Evada Unna Petha’ that is as objectifying as its male counterparts would be. An even funnier sequence is Shiva’s introduction. All hell breaks loose at a caste riot that has already seen six deaths. Afraid of taking serious action due to the political impact it might have on the nearing election, the police rope in Shiva to handle it. This is followed by an utterly hilarious introduction song ‘Naan Yaarumilla’. From the audacity of filmmakers to use serious real-life issues to fluff up the super-sized egos of stars to the annoying punch dialogues that do a great job at self-glorification, the film covers everything with a satirical wave and has you in constant fits of laughter.
The first half is especially exciting. Though most mainstream heroes and filmmakers are pulled into this parody’s mix, two particular stretches are especially hilarious. One is the sequence where Ajith’s Vedhalam, Veeram, and Vivegam are referenced. From the spoof on Vedhalam’s climax action scene to the scenes in which Shiva is seen working out just like Ajith from Vivegam, it is all timed so perfectly and delivered with a straight face. This leaves you drowning in the laughter that haunts the halls long after the scene is executed. The second are the stretches that spoof director Gautham Menon’s films like Neethane En Ponvasantham, Vaaranam Aayiram, and Vinnaithandi Varuvaya. You see Shiva jumping gates and landing on mattresses and you also see him talking to himself constantly. Nuances like these help you laugh at the repetitiveness that has taken over the said director’s films these days.
If satirical film sequences are not your thing, then you might enjoy the parody involving Tamil Nadu’s opposing political parties. The reference of H Raja’s anti-Indian comments, the mainstream media debate over 3 plates of Pooris and Sashikala’s ‘sabatham’ in particular receive roars of laughter.
But Tamizh Padam 2 isn’t entirely without faults either. The second half, for instance, feels overlong and over-stuffed. The pace of the first half is obstructed by the clueless second half that goes on to stage a Baahubali meets Game of Thrones situation. This is the only part where the comedy falls flat and even begins to feel repetitive. Kasthuri’s item number feels misplaced in the film along with a half-hearted duet that disappoints.
Shiva steps into his character’s shoes effortlessly. His straight-faced acting intensifies the laughter that follows many of the scenes in the film. From the uncanny manner in which he delivers most of these gags, it is quite evident that this is the genre he is most comfortable with. As the villain, Sathish is good but his costumes are better. Both the hero and villain fare extremely well in the dance-off that appears in the second half. For a brief second, Santhana Bharathi as a nurse has you laughing your socks off with his expressions.
Cinematographer Gopi Amarnath puts in a lot of effort to ensure his visual-storytelling captures the essence of the film. His visuals uplift the satire that tends to dominate each frame. Even if the visual-storytelling isn’t innovative or refreshing, it fits the bill.
Except for Evada Unna Petha and Naan Yaarumilla, the rest of music director N.Kannan’s songs are quite forgettable. But his BGM is always in sync with the film’s demands.
On the whole, you need more films like Tamizh Padam to laugh at some of the ridiculous films that the Tamil film industry churns out year after year. This film might not be perfect, but it serves its purpose quite effortlessly.