Indian vernacular cinema is known for its audacity to adapt new, bold and unprecedented topics that surprise audiences. Especially directors in the south of the country constantly create new crime novels.
That explore their respective genres in their inventive style. This strategy works because the genre is probably the most beautiful thing for a die-hard fan, especially on OTT platforms. But sometimes, it comes back when the effort goes beyond trying. Something out of the ordinary in an unbelievable and unconvincing way.
It’s hard to write about a film like this without revealing the plot.
Still, Vignesh Karthick’s Thittam Irandu/Plan B is one of those films. That leaves you quite enchanted but then comes. With a climax that destroys everything and spreads throughout the audience, making fun.
With a title that sounds like a robbery movie, Plan B begins with a scene. That hints at a psychopathic serial killer with a disability. Then he humiliates the main couple during a bus ride.
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Before moving on to his story in which the woman’s childhood friend. A police officer, disappears. He was later found alive in a car accident, which sparked many suspicion and questions leading to further investigation.
This film pays homage to its creators and has a clever idea that tries to convey. A social message to follow your inner desires without worrying. About the world and its trademark norms.
As a crime thriller, it is also an exciting and addictive film. That doesn’t reveal anything before the last 30 minutes. Helped by a stunning performance led by Aishwarya as an investigative cop. After the reveal, however, nothing remains the same. Forcing one to question almost everything seen in the 90-minute film before the lengthy climax.
As an epic of disappointment, the climax is reminiscent of every sequence from the beginning. Which now seems ridiculous, knowing the hidden secret.
In other words, Plan B doesn’t end convincingly and doesn’t justify its disclosure:
Even though it does reveal it through well-executed emotional outbursts. The explanation of the life transformation process seems too simplistic, and the way it is presented is still largely implausible.
As a result, everything falls apart when you understand. What is planned and how it will be executed by the people involved. Nonetheless, it’s still a watchable film with a new plot and the courage to adapt it to the screen. With the motive of offering something fresh or never seen before.
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However, if you are an avid observer of the casting and specific appearances (costumes). All the main characters in a film. You may be able to solve the puzzle long before you catch the well-placed clues. Maybe it can only be shown to see if you can enable it or not.
Atyrau, a senior police officer, played by Aishwarya Rajesh, becomes obsessed with missing cases. The missing woman is his childhood friend, Surya. However, Aishwarya hardly tries to make us feel the pain of losing her character or the weight of her mania.
He looks and behaves so recklessly that we had a hard time buying what the film was selling. Not to mention the romantic chat between Atyrau and Arjun, which is so naughty.
You see the reflection of Gautam Menon in Atyrau’s vocal dialogue and her first conversation with Arjun. And then we see a bit of Mysskin in the mix. Especially in the scene where Athira encounters the killer and goes after him.
There is nothing wrong with inspiring someone in their work.
So many great directors have made great films since the beginning of cinema. However, this needs to be done with an aesthetic sense combined with some original thinking.
Vignes must realize that he is not taking a new step. He is simply choosing to explore the complexities of gender identity on Titan Irandu. He is not a pioneer in everything.
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Several directors have tried cinematographically different versions of the theme in the past. He had to be creative and inventive in form rather than relying entirely. On the final message to make up for his shortcomings as a director.