The heartbeat of the Indian film industry, the masala film genre, has often been deemed inferior to its more serious, issue-driven counterparts. Nonetheless, when executed skillfully, masala films can offer a distinct and captivating cinematic experience. The art of crafting successful masala movies appeared to have faded from the minds of filmmakers, especially within the realm of Tamil cinema. However, Nelson Dilipkumar rekindled this lost magic in collaboration with Rajinikanth, the unrivaled icon of Tamil masala cinema. The missing ingredient in contemporary commercial filmmaking, as Nelson recognized, is “respect” for the genre, a sentiment he abundantly embodies. When combined with his confidence and dark humor, the result is an incredibly delectable cinematic concoction.
Ironically titled “Jailer,” the movie defies straightforward categorization, a quintessential trait of masala cinema. Yet, in this film, the transitions between genres unfold with remarkable clarity and fascination. A family drama morphs into a tale of vengeance, eventually evolving into a narrative twist that shall remain undisclosed to avoid spoilers. The surprises continue to unfurl, complemented by delightful cameo appearances. A pivotal line from Rajinikanth’s dialogue in Jailer encapsulates the essence of Nelson’s approach: “I’m the king here. My words are the rules. And I’ll keep changing it on a whim.” This very philosophy seems to guide Nelson’s directorial vision, resulting in an ever-shifting landscape of rules and genres that consistently entertain.
Jailer follows the trajectory of Rajinikanth’s cinematic legacy, falling into the category of the enigmatic hero with a concealed past who reemerges in moments of destiny. Tiger Muthuvel Pandian, a nod to Rajinikanth’s previous characters, assumes the role of a doting grandfather who spends his retired years crafting YouTube videos with his mischievous grandson. Meanwhile, his son Arjun, portrayed by Vasanth Ravi, holds the position of a deputy superintendent of police. Arjun embarks on a pursuit of a criminal syndicate led by the brilliant Vinayakan as Varma, specializing in the illicit trade of temple sculptures. When Arjun’s relentless investigation incurs danger, his father Muthuvel Pandian initiates his own quest for retribution. The involvement of allies from Muthuvel’s prison days, featuring charismatic cameos from Shivarajkumar, Mohanlal, and Jackie Shroff, further enhances the cinematic experience. A fitting alternate title for the film might have been “Rajinikanth and Friends,” given the camaraderie that generates theatrical magic.
Comparisons could be drawn between Jailer’s narrative and Kamal Haasan’s Vikram, although Nelson’s approach remains distinctively lighter than Lokesh Kanagaraj’s more intense work. Nelson’s film fearlessly navigates sensitive situations, dedicated to its primary purpose: entertainment. The standout feature of Jailer is Nelson’s commitment to adhering to conventions while crafting a “Superstar movie.” Despite Rajinikanth’s seemingly omnipotent aura, Nelson introduces limitations to his capabilities, a commendable decision that preserves the movie’s intrigue. This is evident, for instance, in Rajini’s absence from the lively “Kaavaala” song sequence alongside Tamanna.
Equally noteworthy is Nelson’s mastery in utilizing the supporting cast, predominantly for comedic effect and occasionally in contrast to the protagonist. Yogi Babu, Reddin Kingsley, and Jaffer Sadiq emerge as remarkable assets within Nelson’s cinematic universe, each character expertly wielded by the director. Among these, Harshath’s portrayal of Varman’s henchman stands out, a testament to the eccentric richness of Nelson’s character landscape. Complementing the movie’s momentum are Anirudh Ravichander’s pulsating tracks, notably “Hukum” and “Jujubee,” which inject added dynamism into the narrative. Excluding Anirudh’s music from Jailer would inevitably diminish its impact.
Admittedly, the most overt challenge presented by the UA-certified Jailer lies in its graphic violence, an aspect that defines the movie’s intensity. Rather than being mere brutality, this violence serves as a testimony to the narrative’s weight, earning its “A” rating through its visceral depiction. Yet, concurrently, the film earns another “A,” symbolizing its status as an all-encompassing entertainer that engages on multiple levels.
