Baththa gets its title from its hero, Baththa, a local gangster, rowdy, goonda, bootlegger, and whatnot. If you wonder what the name Baththa means, it is a short form of Bhaktavachalam, which we learn only towards the very end. In a sense, the film’s one-line story is the transformation of this street fighter and local goon (Baththa) into a human (Bhaktavachalam). While this theme is not novel for a Tamil film, what makes Baththa interesting is how this transformation unfolds. And it happens through the intervention of a small boy in his life.
These days, many films are set in the 80s and 90s to escape the tyranny of mobile phones and surveillance cameras. Baththa is also set in the 80s in North Madras, and it is obvious why. There is no story if this film is set in the era of smartphones and security cameras. Vijay Sethupathi plays Baththa, the dreaded titular character in the film. Under mysterious circumstances, he goes missing, and nobody has a clue, except one. That person happens to be the film’s important character, a small kid. When Baththa reappears, he is a changed man, and what happens next is the rest of the story.
As a premise, the film’s central idea is quite interesting. It is the execution of this idea that falters. There are long stretches of the film that lag, struggling to hold the viewer’s interest. Fortunately, things pick up, only to lead us to a lacklustre climax. The end reveal needed a much stronger idea than the film offers. The feel-good sentiment at the end saves the film.
The idea required a stronger screenplay and writing. Netflix, the OTT platform where the film is streaming now, tags this film as “dramedy” and “heartfelt”. This is where I felt a stronger screenplay could have established the genre more clearly. In my view, the film is emotional at its core, and it needed strong emotional moments throughout. That would have made this film a huge theatrical hit, too.
That aside, one thing that stands out throughout the film is the art direction and production design. The film pays close attention to detail to bring 80s North Madras to life as authentically as possible. The houses, the streets, the school, and the overall ambience are set up very well, including the graffiti on the walls and the “Gokul Sandal” powder, which remind us of that period. Kudos to the art director, Muthuraj, and the director, Balaji Tharaneetharan.
Balaji, who debuted with the much-acclaimed Naduvula Konjam Pakkatha Kaanom in 2012 and later made Seethakathi in 2018, once again shows that he is not a “formula” director but one who prefers ‘hatke’ themes and pushes the envelope in an industry afflicted by the “mass” disease! Credit to him for trying something different every time and succeeding.
Vijay Sethupathi has been a constant feature of all Balaji’s films. As Baththa, he is as menacing as he is caring, as the character arc demands. I only wish he had given more attention to his wig and makeup, which I thought were poor. Despite that, he plays the role with a lot of finesse. But the acting honours must go to Sai Prithiviraj, the small kid who is a natural in front of the camera. He has long stretches where he has to hold the fort on his own, and he does so brilliantly.
The other Sai, Sai Abhyankar, has a mixed bag in the film. The songs are okayish. The background score, which plays a big role in emotional dramas, could have been much better. Just as I thought he got the sounds right for a period film, there were raps and random choruses that felt out of place. But for a newcomer, he has got the talent, and with experience, I think he will be a force to reckon with.
Tamil cinema is on a roll these days, with diverse and meaningful films making an impact, one after another. Baththa joins that list and is a good one-time watch. Baththa is streaming on Netflix.
My Flash Verdict: A good one-time watch.
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