Jigarthanda DoubleX
Introduction
It was probably last year in 2022 when the much hyped Hindi film Bachchan Pandey was to release which was the official Hindi adaptation of the original Tamil film Jigarthanda directed by Karthik Subbaraj. As a part of my preparation, I decided to watch Jigarthanda which was previously out in 2014, and I was absolutely blown away by the concept of the film that was a smart marriage of arts and commerce. As it turned out, Bachchan Pandey was an utter disaster that never really imbibed the vibe of the original drama which was a sort of a cult in many ways. And so when I did get to know about the spiritual sequel of Jigarthanda being made titled Jigarthanda DoubleX, I was extremely skeptical about it.
Usually the second film in the franchise is more or less a cash cow which is made to earn a quick buck at the expense of the first film of the series. Very rarely would you see a film like Top Gun Maverick outdoing the accomplishments of the originak film. Yes, the second film might usually find success but what it eventually does is ruin the reputation of the franchise. But in Karthik Subbaraj, I had a good amount of faith that he would pull it through. The film was eventually out on Diwali but owing to the Tiger 3 wave, there were almost no shows screening the film in Mumbai. This, while I patiently awaited its release on OTT, something that did transpire the previous weekend. So now that I have finished watching Jigarthanda DoubleX, here are my two cents on the film.
Story & Screenplay
A spiritual sequel to Jigarthanda(meaning it is an independent film with no connection to its predecessor), Jigarthanda Double X follows the story of an undercover cop who is tasked with a duty to kill a notorious gangster who is an ardent fan of cinema, in particular Clint Eastwood. But there is a bigger challenge awaiting him! The story here has so much to unpack through its layers and layers of social commentary around the environment and wildlife, along with the politics revolving around it. This is also a timely reminder on using cinema as a tool for justice or awareness which is so effectively used by Iranian filmmakers despite so many restrictions that they do face from time to time. Having said that, all of it along with plenty of meta references is combined in an entertaining yet poignant commercial potboiler that outshines the predecessor. The screenplay standing at a little short of 3 hours might seem long but it takes you on a phenomenal roller coaster of emotions that starts off on a lighter note while getting surprisingly dark towards the end. And this range is reflective of Karthik Subbaraj as a filmmaker too who is fearless even from the writing perspective wherein he did not take a simple route out.
Set in 1973, the drama opens in a slightly indifferent note with the introduction of a conflict involving the killing of elephants by poachers wherein you see a policeman brutally beating a group of sympathizers. Elsewhere, you are introduced to a protagonist, a cop by profession who is falsely framed for a crime and sentenced to jail. At this point, I kind of felt a little distanced from the drama wherein I couldn’t gauge the connection between the events. But following a two year leap and a brief setup with respect to the politics of the state, the writers do well in giving a little context to the drama wherein a plan is hatched to kill four henchman of the ruling party with the protagonist being tasked with the chores for one of them, who happens to be an ardent lover of Clint Eastwood. There are several meta-references thrown in that would make you chuckle through the first hour with the protagonist taking up the mantle of a director to tap into the weakness of the gangster protagonist.
The proceedings are thoroughly entertaining and engrossing in the first hour particularly with the make-believe film that is being shot amidst the rising tension of a deadly face-off between the two protagonists. The character dynamics are nicely laid out between all characters with a hint of playfulness to grace the situation in hand. This leads to an interesting interval block(notice the hilarious meta-reference there) which leads to the exposè of certain moles in the gang except the cop protagonist. This sets up things nicely for the second hour but I was just not prepared for what I was about to witness!
The tone of the drama begins to tilt towards the issues related to the environment and wildlife in the second hour with the politics around it being played as an undercurrent. It is here that we also notice a transformation of one of the characters who has previously had a hateful relationship with the elephants as a part of the tribe who protected the wildlife. I did like how the rooted culture of the tribe was explored leading to a major incident that was quite heartwarming to witness. In the turn of events, you see the gangster protagonist being brutally injured by a poacher(a character designed on the lines of Veerappan) while trying to save a pregnant elephant who is about to deliver a baby. This while the cop protagonist who is shooting the sequence(for a fake film) has a change of heart too! The birth of the baby elephant is used as a metaphor for the transformation of two characters who are given a second birth in many ways. But the twists and turns in the drama do not end here! What briefly follows is a heartwarming moment between the creatures and the protagonists!
The writing is layered to a great extent in the second hour with the set of revelations that take place following an underlying layer of a power tussle at the top. The events leading to the final act were the highlight of the film wherein the writers take a brave creative decision of allowing the drama to enter a dark territory. The turn of events are disturbing and rousing in so many ways while highlighting the importance of cinema as a tool of awareness. This is the kind of bravery that I expected in a film like Animal to push the envelope even in terms of its storytelling. The ending was the icing on the cake with the writers reintroducing a meta-reference while also paying an ode to cinema! The screenplay overall was outstanding and perhaps the most unassuming piece of writing that I have witnessed all year!
Dialogues, Music & Direction
The dialogues are playful while filled with plenty of meta-references to keep you invested in the drama. This, while a searing social commentary on the environment and wildlife welcomes you in the second hour. All of the lines combine to make for an impactful watch. The music is earthy and blends well with the atmospherics of the drama. The BGM is dramatic but it goes superbly with the tone of the drama that gradually shifts along the way. The cinematography ranges from being playful to being dark towards the end with some terrifying frames to accompany the narrative. Yet, the meta-references are sprinkled in through some hilarious frames that make for a rousing watch in many ways. The editing of the film did seem to be a little patchy to begin with but after finding its mojo after 20 odd minutes, the editing is top class! Director Karthik Subbaraj is one of the finest gems that we have, and someone whose voice needs to be preserved and cherished. His direction here is unassuming, almost taking the viewers on a playful journey before tactfully integrating a commentary followed by an unexpectedly dark finale. In between, he does create heartwarming moments that have you invested in the drama as well. The direction is brilliant here!
Performances
The performances are wonderful by the ensemble cast. Sheela Rajkumar as Lurthu has her moments to shine. Kapila Venu as Chinthamani is incredibly good as the CM of Tamil Nadu, and there are layers to be discovered in her character. Shine Tom Chacko as Jeyakod shines in a brief role wherein he brings with him a menacing presence. Sanchana Natarajan as Painguli is quietly charming and has a sense of softness to her character in a sincere and earnest performance overall. Naveen Chandra aa Rathna provides another timely reminder on what a phenomenal talent he is, with a splendid act that will make your blood boil. His screen presence is terrific as well in what was an intimidating performance. Nimisha Sajayan as Malaiyarasi is absolutely brilliant with her character who is assertive and brilliantly expresses some of the most suppressed feelings. Her fiery act just takes the cake!
Raghava Lawrence as Allius Caesar is simply brilliant to the core. His casting was an interesting choice on the lines of Soori being offered a serious role when he has done comedy almost all his life. And the sharpness that he brings to the table even with subtle hints of humour thrown in the narrative, Raghava comes out on top with flying colours. The sheer audacity to pull off this role in the most effortless manner needs a good level of skills, and Raghava does it brilliantly.
SJ Suryah as Kirubal aka Ray Das is a phenomenal actor with a wide range of emotions to play with. There is a sense of goofiness to his character that is laced with humour yet, a character who takes a turn to add maturity to his traits. These were conflicting emotions and Suryah does a brilliant job! Also, the chemistry that he shared with Raghava was infectious.
Conclusion
Jigarthanda DoubleX is a timely reminder on the greatness of cinema as a powerful tool for raising awareness and a social commentary, packaged in a drama that is entertaining, poignant and disturbing. Rarely do we see a spiritual sequel going past an already incredible predecessor, Jigarthanda DoubleX does exactly that! Available on Netflix and Highly Recommended!