Does Rajinikanth’s Jailer Sinks Under Dull Storytelling and Direction?

The director Nelson’s choices have brought about a notable downside in the movie “Jailer”. One of the main flaws is how the villain character has been portrayed. Instead of appearing authoritative and yielding before the superstar, the antagonist’s role seems misaligned.

Right from the YouTube scenes featuring Ritu Rocks, comedic instances with Yogi Babu, to the entertaining Toppa comedy with Pushpa Sunil in Andhra, they all seemed to be on a different wavelength of humor.

Moreover, when Vasanth Ravi made a cameo appearance, his character lacked depth and ultimately fizzled out, leaving a rather insipid impact.

The film’s opening half-hour, involving the song “Rathamaarey”, tended to induce drowsiness in the audience. Unlike Rajini’s captivating portrayal in “Badshah”, the scenes featuring Muthuvel Pandian, a retired police officer, felt more like a short film.

Similar inconsistencies continue in the second half, as the narrative shifts to Andhra. The supposed love triangle involving Pushpa Sunil, Tamannaah, and Magali Sunil becomes more of an unnecessary hindrance than a dark comedy, much to the viewers’ chagrin.

Nelson’s choice of Toppa comedy, particularly involving Pushpa Sunil and Magali Sunil Reddy, lands flatly, failing to evoke the intended laughter. Such scenes are reminiscent of those seen in Santhanam’s “Kanna Lattu Dinna Aasaiya”, and fans are perplexed about Nelson’s intentions behind including such elements.

Questions arise about the character’s intentions: Is Neelambari Ramya Krishnan’s character needed for a rushed portrayal? Comparisons are drawn to how Nelson might have mishandled it, akin to what occurred in Rajini’s “Baba” instead of the approach taken by Ravikumar.

Nelson’s depiction of the antagonist, Vinayaka, oscillates between being a menacing leader of an idol-smuggling gang and an almost caricature-like figure situated among idols in Mahabalipuram. These inconsistencies have led to confusion in the character’s portrayal, where at times he appears as a feeble individual in front of Rajini while at others as a brutal murderer wielding a hammer.

Evidently, director Nelson’s approach plays a pivotal role in the film’s drawbacks. The only saving grace seems to be the superstar’s presence. Nelson’s screenplay lacks the anticipated dark comedy, indicating that a strong resurgence is needed in his next cinematic venture.