Jailer – My Flash Review!

Any Rajinikanth movie comes with loads of expectations and associated hype and Jailer is no exception.  The film, coming at the back of a few average outings like 2.0, Durbar and Annatthe for the actor and an underwhelming Beast for Director Nelson obviously arrived with additional pressure for these two. First up, I must say that both Rajinikanth and Nelson can breathe easy having delivered a film that is fairly engaging for the most part.

If you look at Rajini’s movies post-Enthiran, there was a sense of Deja Vu in terms of the reaction of the fans which is “Rajinikanth towers high in the film with his energy and screen presence but the story/screenplay/director let the film down badly”. In Jailer though, Nelson ensures that the story and the screenplay punch equally as the actor – the result of which is a full-blown Rajinikanth commercial entertainer after a long while.

As the title suggests, Rajinikanth is a Jailer – a retired one though, which ensures that he plays his age. In a repeat of the usual popular “R2R2R” (Riches to Rags to Riches) template of a Rajini film which we are familiar, in Jailer, we get to see a slight twist in the form of a “Rowdy to Restrained to Rowdy” template as in Baasha. Circumstances connected with his family members make the retired and peace-loving Rajini go back to his earlier rowdy avatar and how he tackles the problems on the way is the story.

In this story which seems very familiar, Nelson deftly brings in newer elements in the script which by and large keeps the film engaging and interesting. Interestingly, Nelson pivots some key plot points by taking many leaves out of Kamal Haasan’s films. Like the mass Rajini transformation scene in Vishwaroopam – 1, the grandson element as in Vikram – 2 and finally a relationship equation similar to Indian – 1! Nelson deserves kudos for leaving Rajini to play his age and sparing us the agony of seeing him prancing and playing around with younger heroines. Rajini is shown as only masterminding the action sequences rather than doing all by himself – again a refreshing change. Rajini in Jailer is more brain and less brawn. The pre-interval block is an interestingly conceived mass sequence that comes just in time as we think the film was tending to lag.

Likewise, just as the flashback sequence at the start of the 2^nd half begins to drag, fortunately, it ends. But post that, the film slackens and goes through a stretch where we get restless. To make the film pander to a Pan-Indian audience, the Director brings in popular actors from other languages like Mohanlal, (who gets an equally roaring welcome in Mumbai theatre as Rajinikanth), Jackie Shroff (in a regrettable cameo) and Shiva Rajkumar in guest appearances. The entire stretch involving the Telegu star brigade (Sunil, Tamannah and Sunil Reddy) is cringy and could have been better imagined. That Yogi Babu continues to be cast as a comedian is a joke on us. In general, the plot in the 2^nd half is badly ideated and could have ruined the film but for Rajinikanth’s presence in the film. The famed black comedy of Nelson is a mixed bag. Many times, the comedy doesn’t land.

Rajini towers in the whole film with his screen presence and energy even at this age. While the film boasts of an ensemble cast, there are only three who dominate the film. 1. Rajinikanth. 2. Superstar. 3. Thalaiva. Everyone else except for the villain Vinayakan is relegated to the sidelines both in terms of screen time and role. In a script that gives ample opportunities for Rajini to show his flamboyance and skill, he doesn’t miss any. Rajini in Jailer is to millennials what Baasha was for the 80s and 90s kids.

Vinayakan who is familiar in Kerala as a competent character actor from films like Kammatipadam and more recently Pada, is sure to get busy in other South languages after this. He reminds us of the talented Kalabhavan Mani with his histrionics. Usually a very natural actor, in this film he ups the pitch by a few notches bordering on “Over-acting” which of course goes with the flow of the character.

In terms of making, I found the “turn the tap” violence excessive and over the top. This has become a new normal in Tamil films these days to show gushing and splashing blood in all its glory throughout the film. The background score of Aniruddh adds to the mass appeal of Rajini’s scenes and is a plus for the film. The songs though peppy were not to my liking and thankfully have been cut short in the film. The camera work by Vijay Karthik is competent, particularly in the action sequences.

It is not that Jailer is flawless. It is also not flow less! There is a method to the madness. In Jailer, Nelson has avoided falling into the “Fanboy” trap of making a film that pays obeisance to Rajini’s past films in every scene.  Instead, he marries his style of storytelling with Rajini’s appeal and has managed to succeed.  I would put this as a “Good Watch” for those who don’t mind too much violence on screen and a “Must Watch” strictly for Rajini fans. Jailer is a Rajinikanth fanfest.