Blaxploitation. In the 1970s, Black filmmakers in the West decided to wrest the narrative from mainstream Hollywood and made films about themselves in a way they felt was right. Of course, it received criticism for reinforcing stereotypes, but the intent was something else altogether. When Alias Caesar (Raghava Lawrence) decides to become the first dark-skinned superstar of Tamil cinema, it is, in a way, to shatter the stereotypes surrounding his skin colour. Yes, he is the embodiment of everything that era, and even today’s Tamil cinema forces dark-skinned people to be. But, that is where the premise of the Jigarthanda franchise comes into play. What if a ruthless gangster finds his true calling thanks to the power of cinema? Karthik Subbaraj takes the core of his sophomore directorial and gives it such an interesting spin that it becomes the best utilisation of a franchise model in a long time.
Director: Karthik Subbaraj
Cast: Raghava Lawrence, SJ Suryah, Naveen Chandra, Nimisha Sajayan
Jigarthanda Double X is easily Karthik’s most political film, but we will get there at a later stage, just like the film itself does. Firstly, this instalment has the same beats as the first one. There is a dreaded gangster in Madurai, and a first-time director reaches the former’s den to make a film out of his life. Despite such glaring similarities, Karthik ensures we somehow know this is something new despite watching the same thing. It is a tightrope walk, and the film does it efficiently. Take, for instance, the first time Caesar meets Kirubai aka Ray Dasan (SJ Suryah), who has come to direct a film for the former. Just like in the first part, there is pure fear, and a false sense of confidence from Ray Dasan, but the reasoning behind this unlikely partnership comes with a difference. Just like the first part, here too we have a debut filmmaker who is determined to hoodwink this gangster and finish his project, but that film finds a completely different reason to exist. Just like the first part, the gangster is ruthless and brutal, but the transformation happens for a wholly different reason. Just like the first part, there is a tonal shift in the second half too, but this time it isn’t too drastic and fits wonderfully into the narrative. And there are enough writing flourishes in Jigarthanda Double X that would make even the first part doff its hat to its successor, especially with the way Karthik has intertwined the world of gangsters and cinema.
Jigarthanda Double X is an ode to the medium of cinema, the power it holds, and the responsibility of the one wielding that power. While there are debates about the need for a filmmaker to be socially responsible, there is no doubt that a filmmaker’s primary responsibility is to make a good film. On that front, Double X is a visually stunning film courtesy of the standout work of cinematographer Thirunavukkarasu and the terrific score by Santhosh Narayanan. The period setting allows a lot of references to be shown in the film. Right from Clint Eastwood’s Westerns to a legendary director’s way of introducing his films, and a throwaway line about an important chapter in the legacy of Tamil cinema, the film is chock-a-block with multiple characters and references. However, it never feels overwhelming because the makers ensure they aren’t there as an afterthought but as a well-rounded idea. The mix of cinema and crime is a fascinating premise, and Karthik manages to use this well enough for the second time and gives us the confidence that he can do it for the third or fourth time too. It is a technically strong film that evokes strong responses for its imagery and sounds, especially in the forest portions, involving pachyderms, which turns the film into a different beast altogether. Jigarthanda Double X’s score, which oscillates between rousing and wacky, elevates the film-within-a-film style of storytelling. There is blurring of these lines in multiple scenes, and Karthik’s writing and Shafique Mohamed Ali’s editing ensure these transitions are seamless. In fact, this is a film where every department has come together and delivered a showcase of their talents.
There is no doubt that the film allows Raghava Lawrence to loosen up and give it his all, and he aces it like never before. Often criticised for imbibing Rajinikanth’s mannerisms in his performance, Lawrence has reined in that seemingly natural affinity towards the Superstar, to deliver a tour de force performance. On the other hand, there is no doubt that SJ Suryah is the flavor du jour of the season, and it is wonderful to see him tone down the eccentricities in his performance and put up a measured act that serves as the perfect foil to Lawrence. The film is bolstered by excellent casting choices that ensure consistently excellent performances are a given. But it also overshadows the cracks in certain characterisations, especially the women of the film. While they are powered by proven performers like Nimisha Sajayan and Sanchana Natrajan, they have very little to do in the film. Even the primary antagonist Rathna (an excellent Naveen Chandra), who plays a brutal cop, is increasingly one-note, and so is an interesting secondary antagonist Shettani (Vidhu), who whimpers after a roar. The violence here is gratuitous and graphic but is never stylised.
Now, let’s get back to the politics of the film. Karthik has always been a political filmmaker, and he has many a time touched upon topics like Eelam in his films. This time, he delves deeper into the politics of displacement. The film deals with the actual politics of Tamil Nadu at that time but works around it enough to not run into hot water. It also speaks about the holy nexus between cinema and politics, and the unholy third part of that connection…crime. The film drumbeats the importance of nature conservation, and the protection of tribals. However, full points to the makers for not forgetting to engage even when educating. Remember the saying that ‘Until the lion tells the story, the hunter will always be the hero’? We have seen filmmakers like Pa Ranjith and Mari Selvaraj reinvigorating the need to change the narrative of the stories of the oppressed. They have shown how the democratisation of art has made it an all-important tool for telling such stories. Some criticise these films for saying the same things again and again, but there is no doubt that the stories of the oppressed need to be told again and again. Karthik reminds us of the power of cinema… the power that gave us Chief Ministers, the power that gave us demi-gods, the power that makes the audience believe everything that is told in a hallowed dark hall, and how great power comes with great responsibility. But most importantly, team Jigarthanda Double X asks a very simple question for all that say cinema needn’t be political.
Why not?
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