Baththa at times feels like a companion piece to Karthik Subbaraj’s Jigarthanda; another solid movie about a brutal gangster and his metamorphosis. Vijay Sethupati in the titular role does a fantastic job as excepted, whether it’s the swag of a ruthless gangster or the subtle transformation. Child artist Master Sai Prithviraj also holds his own especially a crucial confession scene. Director Balaji Tharaneetharan deserves credit too for his handling of Baththa’s backstory, it gives a solid psychological insight into the protagonist’s childhood wounds and insecurities.
Starcast: Vijay Sethupati, Sai Prithviraj, Lijomol Jose and others
Genre: Comedy/drama
Director and writer: Balaji Tharaneetharan
Music: Sai Abhyankkar
Cinematography: Selvakumar S. K
Producers: Murad Khetani, Atlee, Priya Atlee etc
Production Companies: Cine 1 Studios, A for Apple Studios etc
Running time: 2 hours and 39 minutes
Childhood incidents more often than not have a significant impact on a person’s growth. The psychological scars due to certain situations can make a child go astray; and this can sometimes lead to the path of crime. Baththa begins as a larger-than-life presentation with Vijay Sethupati being presented in a certain way but gradually the movie uncovers the mask behind the man’s brutal nature. The Genesis of Baththa’s change is a third-class student Sabari (Sai Prithviraj). One early morning Sabiri accidently locks Baththa in the school bathroom and runs away from there due to Baththa’s threats from inside. What Sabari and Baththa are doing at that time is better seen on screen rather than me explaining. In a nutshell the story is about the protagonist’s transformation.
The strong aspect of Baththa is the unlikely friendship between Baththa and Sabari. Sabari becomes like Baththa’s other child; he treats him with fatherly affection; this continues even after Sabari’s confession of accidently locking him in the bathroom and not opening the door.
The portions where Baththa opens up about his formative years and the impact it had on him has to be specially mentioned. Its here that the viewers understand the influence of psychological scars and how they can significantly shape up a person.
After the flashback Sabari’s reaction and how he encourages Baththa regarding a certain thing is another highlight of the movie. The pre climax with Baththa singing in the daughter’s puberty function gives the perfect high. It isn’t exactly close to a perfectly tuned number but Vijay Sethupati’s portrayal of a father’s love makes its emotionally poignant.
A mention must also be made of the comic moments especially the ones of Baththa getting frustrated. There are scenes of Baththa getting angry as well as pleading from inside but due to a certain fear Sabari never responds. There is also a running gag of Sabari slipping in rusks for eight days.
The family moments have also been well written and enacted. Lijomol Jose plays the wife Kannima; she is often anxious about her husband’s violent temperament and what would happen to him. Early on there is a scene of Baththa getting irritated with his wife’s tomato chutney and throwing it away.
But in the second half there is a hospital portion of Baththa eating the same chutney with absolute happiness. The second half has a fair share of tender moments between Vijay Sethupati and Lijomol Jose and the two share a warm chemistry. Though the movie is mostly about Vijay and Sai Prithviraj she also makes her presence amply felt.
Sai Abhyankkar’s tunes complement the movie’s themes well, however the background score could have done with more breathing space. The cinematography of Selvakumar SK captures the retro setting well, a special mention must be made of his work in Baththa’s attempts to survive.