Baththa review: Vijay Sethupathi's gangster tale is all heart, humour and nostalgia
A dreaded don sees life in a certain way — he wants everyone to be afraid of him and think twice before approaching him. He almost achieves it, too. But when he strips himself of his carefully built persona, who is he? Is he someone he can be proud of? And what happens when a child unintentionally gives him a reality check? Director Balaji Tharaneetharan’s Baththa takes this concept and turns it into a wholesome drama that is equally fun and emotional.
With Baththa, director Balaji Tharaneetharan takes us back to the 80s, when flashy shirts, thick gold chains, retro pants and thick moustaches were in vogue. His protagonist, Baththa (Vijay Sethupathi), is a local gangster whom everyone fears. During an innocent conversation among a few schoolchildren, a young boy says he has heard that Baththa has a lion cage on his terrace and pets the lion every night. Young Sabari (Sai Prithvi Raj), upon hearing these stories about the gangster, is shaken to the core.
When Baththa and Sabari’s paths cross, it leads to a life-altering reality check for the feared don. This transformation also brings about a change in his behaviour towards his wife, Kanima (Lijomol Jose), and daughter, Thenmozhi (Sahasra Sree). What happens to Baththa and what leads to this moment of self-realisation forms the story of Baththa.
The film begins on an ordinary note, and within a few minutes, we see Baththa getting into a fight in the middle of a market and injuring his nemesis, Jyoti (Arjun Chidambaram). Jyoti’s wife and daughter plead with Baththa to let him go. But his rage doesn’t allow him to see beyond Jyoti. The initial stretches establish just how brutal Baththa is. He loves his wife but doesn’t think twice before slapping her over trivial reasons. He gets into a fight at the blink of an eye.
It is Sabari’s unintentional act, which stems from his fear of Baththa, that changes the course of the film. This is where Baththa picks up, and one comedy sequence after another, the film rarely misses a beat. These are largely situational comedies that work seamlessly within the story rather than feeling like forced diversions. Sai Prithvi Raj is exceptional in portraying Sabari’s fear, inhibition, innocence and compassion.
Baththa also takes us on a nostalgic ride where simple living meant everything. Ilaiyaraaja’s songs, local tea shops lined with different bottles of rusks, thaen mittai and radios were all that gave us joy. In an age where hatred is at its peak on social media, those limited means of communication almost shielded us from unnecessary negativity. And Baththa reminds us of that simpler time.
Director Balaji Tharaneetharan gives Baththa a beautiful arc, and almost every little scene gets a callback in the second half when the story comes together. Take, for example, how Baththa realises the impact of his rude behaviour towards his wife. The film gives a dreaded don a chance at living life a little differently — something that could have been possible had he not taken to violence. The sequences that capture his changing outlook on life, his interactions with Sabari and his internalisation of guilt are portrayed with warmth.
However, Baththa’s momentum dips towards the climax, especially after Sabari’s beautifully enacted reveal. Once that moment lands, several subsequent sequences feel like they are attempting to recreate the emotional high of a climax, making the actual ending feel stretched. This is one area the film could have handled with greater restraint.
Baththa works majorly because of Vijay Sethupathi and Sai Prithviraj’s brilliant performances. The two match each other beat for beat, bringing out the best in one another. Lijomol Jose as Kanima and Chiththa fame Sahasra Sree complement the film with their performances. The film also gives Sabari’s parents, Selvi (Santhy Balachandran) and Thirunavukarasu (Hari Krishnan), some beautiful moments. Particularly, Thirunavukarasu shows what being good feels like and why Sabari grows up to be compassionate.
Sai Abhyankkar’s lilting melodies and background score take us back to the 80s and elevate several sequences. Cinematographer Selvakumar SK’s work and the production design capture the film’s mood perfectly.
Baththa may have a few rough edges, particularly towards the climax, but its heart is always in the right place. Vijay Sethupathi and Sai Prithviraj make Baththa and Sabari’s unlikely bond deeply endearing, while Balaji Tharaneetharan finds warmth in a story about guilt, redemption and choosing to be better. It is a film that makes you laugh, melts your heart and leaves you smiling long after the credits roll.- EndsALSO READ | Vijay Sethupathi is all style and mass in Baththa poster, film release in October
A proud South Indian, especially Chennaiite, with love for films, food and cricket. She loves entertainment. In life also. Cries in theatres, watches films alone and always takes back some lessons. Hills over beaches for her. If not for films, you can see her obsessing over food videos and making organic soaps. Also, a Senior Assistant Editor at India Today Digital covering South films.
