What Sivakarthikeyan did in Physician is what Santhanam makes an attempt in Sabapathy… best, the writing must were more potent
R Srinivasa Rao’s Sabapathy jogged my memory of Mr. Denton on Doomsday, an episode from Rod Serling’s cult vintage TV collection, The Twilight Zone. Within the latter, destiny, personified as a peculiar salesman, saves a former gunslinger’s existence from power alcoholism and a fatally unhealthy duel through giving him a gun and a tiny bottle of magical potion. Destiny, which is in most cases blamed through people for his or her misfortunes, lends a serving to hand to a fallen guy.
In Sabapathy, too, destiny is personified. Destiny on this movie is a VFX introduction — a man with a longish beard and a baritone voice who sits in a dimly lit room and does peculiar such things as reversing the cave in of a card citadel. He, like the salesperson in The Twilight Zone episode, intervenes within the lifetime of the suffering and stammering Sabapathy (Santhanam) to make it higher.
Alternatively, not like The Twilight Zone episode, which readily conjures up philosophical contemplation (as maximum The Twilight Zone episodes do), Sabapathy, because of its ineffectual screenplay, leaves you with that feeling of showering in lukewarm water on a rainy, chilly morning. If best the water were hotter. For the reason that plot of Sabapathy, even supposing now not fully novel, is cast: a naive great man, suffering in existence, will get a suitcase filled with money belonging to a corrupt flesh presser. That is the purpose the place Destiny comes to a decision to intrude in his existence. However the build-up up to now and its aftermath are tiresome.
The writing is to be blamed. The construct as much as the intermission, the place Sabapathy unearths the suitcase, is tiresome. Probably the most scenes between Santhanam and MS Bhaskar paintings to an extent because of their performances. And, Cooku With Comali-fame Pugazh, who performs Santhanam’s ‘quarter’-loving buddy of Santhanam on his big-screen debut, delivers a couple of one-liners. However barring a couple of such moments, no traces stick.
The tone of the film fluctuates wildly in the second one part. For some time, it desires to be a madhouse caper with many of us chasing after the similar object, leading to comical injuries. However a couple of moments later, it will get all motivational.
However it used to be refreshing to peer Santhanam now not bobbing up with a one-liner or a retort each and every two mins he’s on display. What Sivakarthikeyan did in Physician, Santhanam does in Sabapathy. Taking part in an ungainly, small-town man with a stammer, Santhanam, for probably the most section, does now not remind you of Santhanam. Additionally refreshing to peer used to be the movie now not veering clear of the plot, except for an needless combat series and songs. All this leads to a Sabapathy that isn’t lengthy…however had the writing been more potent, it will were extra than simply watchable.