The movie’s storyline revolves around Vijay Gurumoorthy (Vijay Antony), who is allegedly one of the ten richest people of India, and he falls victim to a ruthless plot by his aides. Sathya, the person you see (portrayed by Vijay Antony) there, is a man who is on a mission to find his long-missing sister. Sathya, the reluctant protagonist who experienced an extremely turbulent past as a juvenile delinquent; also, he enters the prison with the vengeance he intends to bring out on the person responsible for his sister’s disappearance.
In the first half of Pichaikkaran 2, Vijay Antony plays the prelude that sets the stage and lays a framework for the narration in the second half. It seems like he does this on purpose, choosing which elements to place where in a way that supports the overall spine of the plot and unveils the characters’ lives through flashbacks, where they bring the whole storytelling to another level since it provokes the viewer’s curiosity.
In the same way, the main character’s attitude towards the fact seems to be building up, a shocking twist at the interval sent the protagonist into a shock. Nothing about everything that occurs at the interval seemed to drop familiar clues or direction directly towards the path he desires to take.
Although this may seem strange in the beginning, one cannot but correlate it with the paradoxical mind of the protagonist who, not only does he know no immediate danger against him, but also appears to come up with ingenious methods to fulfill his mission within a relatively short period, to achieve his goals.
But, the eagerly expected second part unfortunately, is not as good as it was. This part which is way longer, has a lot of philosophy describing eradication of poverty.
However, this type of cinema exposes the ignored and surrenders the means for the solutions. Secondly, this film lacks in content and is jam packed with dramatism that functions as a band-aid for substance. The film, indeed, does not spare these devastating situations such as the defilement and subsequent murder of a poor girl, which is, in fact, very disturbing. Instead, it takes the intensity to a higher level. This is only a little glimpse of all the film’s oversized theatrics.
Alongside the film’s direction, production and lead role, Vijay will fill such various positions as editing, dialogue and song writing, storyboard and script development; these harmonize the multiple positions employed by T Rajendar. But the movie seems to get back to Thangachi sentiment again and again; even though the young cast are impressive in the flashback scenes and really cover it all.
Certainly, on one hand, the character of Sathya played by Vijay is the one who quite passionately supports the poor and tries to bring them out of their disgraceful state, while on the other hand, the way in which he does it mostly receives amusing reactions rather than a real pity from them. Take a mall which sells at retail prices the community’s basic utilities like food and other essential materials, a move which may be caused by affluent residents. Likewise, an artificial brain transplant plot, as it is at the heart of this movie, seems to be unreal and unnecessary serving just as a means to insert excessive visual effects, long complex scenes, and lengthy dialogues.
On the regrettable side, Pichaikkaran 2 continues the previous movie by further creating stereotypical portraying of women, pulled in into two different directions: through their sentimental or sensual roles. This picture of a complex individual is appropriated to give way to a shallow underlying story and thus reinforces the traditional patriarchal gender ideology.
He allows his inner angst to emerge, creating a vigorous speech, and defining the concept of “bikili”. In it he gives a warning to those who enrich themselves by
improving the lot of the poor. Nevertheless, it is an irony that the subject of the movie is the exploitation of the poorest and yet at the same time once again the movie capitalizes on this plight commercially. The class imbalance and this trait of overlooking it completely had also been discarded by the movie, Sathya.
