It’s hard to decide exactly what Prabhu Solomon was aiming for with his latest release Thodari. Perhaps he wanted to make an old-style masala movie with a dash of everything as seasoning for an adventure storyline set on a speeding train? Or maybe he wanted to create a spoof of a disaster movie along the lines of Airplane! It’s hard to say, since instead of any of these he’s made a film with too much of everything except plot and plausibility. The film has a surplus of comedy, romance, action and even social commentary, and yet none of it works together at all, resulting in a lumbering fiasco of a film that slows grinds though its full 168 minutes of run time. The only saving grace is Dhaunsh, who somehow manages to make his scenes watchable despite the ludicrousness of his character’s actions, and Keerthi Suresh who has a little more to do than the average heroine.
The first half of the film is a jumble of scenes set in a train running from Delhi to Chennai. The pantry staff is introduced, including supervisor and manager Chandrakanth (Thambi Ramaiah) who claims to be ex-military and tries to run his kitchen as if it’s an army platoon. Chandrakanth is responsible for a loud and intrusive comedy track that reaches its nadir when he is accused of being a terrorist and responsible for sending the train out of control. It’s anything but amusing.
Then there is pantry assistant Poochiyappan (Dhanush) and his friend Vairam (Karunakaran) who are vying with the rest of the team to serve refreshments to a Malayalam actress travelling in first class. Again, I think most of this is supposed to be funny, with Chandrakanth using Poochi as a surrogate to romance the actress, and instead only managing to charm her gluttonous mother, but it’s tired, cliché-ridden and basically not comical at all.
Poochi manages to win through to first class but rather than falling for the actress, instead he’s smitten with her make-up girl and immediately decides he’s in love with her in typical Tamil cinema style. Saroja (Keerthi Suresh) has reservations, but a quick song and dance on top of the train and the unlikely hope that Poochi can further her dreams of becoming a famous singer, and she’s happy to melt into his arms. There is also an odd feud that develops between Poochi and a security guard (Harish Uthaman) who is travelling with a government minister (Radha Ravi). There is no apparent reason for the guard’s enmity, although there are suggestions that he has an anger management problem and may even be on medication, but apart from being an excuse to add a couple of fight scenes this entire thread seems completely pointless and superfluous.
The action starts in the second half when the train ends up speeding out of control with no way to bring it to a safe halt. There are all sorts of technical reasons behind why no-one can stop the train, but the media become obsessed with the idea that the engine has been taken over by terrorists. The passengers on the train are able to watch the news of their hostage situation and imminent demise on their mobile phones as they hurtle along the track but despite all this disinformation, they don’t come up with any great ideas to save the day. Instead, their only possible salvation is a make-up girl stuck on the engine with no idea what is actually happening and whose main concern is her developing romance with the train pantry assistant.
The action of the second half is disrupted by the songs and by frequent switches between the different characters. Rather than focusing on the drama, Prabhu Solomon adds more ‘comedy’ involving Chandrakanth, another fight scene with the security guard and shots of the TV crews chasing the train. There are long dialogues supposedly set on a panel discussion with politicians behaving like school children while army personnel who board the train become embroiled in petty feuds and disputes amongst the staff and passengers instead of doing anything to stop the speeding train. Even the scenes in the control room, which should have been tense and full of anticipation, are watered down by attempts at comedy and yet more digs at the government. None of it is credible or even feasible but it’s all irrelevant anyway. What really matters, and what the TV audience want to see happening on the out-of-control train, is the success of Poochi’s romance with Saroja before the train runs out of track and the couple run out of time.
Thodari could have been much better if Prabhu Solomon had kept to the basics and put a simple love affair together with the drama of a runaway train. There are some good ideas here although they are almost buried under the huge cast list and wreckage of a plot. I like that it’s the heroine who has the best chance of saving the day and that the hero leaves it all up to her. Keerthi’s Saroja has some good lines too (although the abysmal subtitles meant I didn’t understand everything) and mostly behaves as any normal person would when faced with similar situations. Some of the suspense with the runaway train works, although it is only a small amount, and the romance between Poochi and Saroja is mostly engaging, despite the difficulties thrown up by when Saroja is stuck at the front of the train and Poochi is reduced to mouthing sweet nothings over a walkie-talkie with the entire nation looking on. The scenery too makes a spectacular backdrop for the songs as Dhanush and Keerthi shuffle along the top of the train and D. Imman’s music is catchy, even if the songs do act as major speed-humps for the screenplay and are unnecessary in this style of movie.
Overall the film suffers from too much going on at a superficial level, but not enough of a plot to give a firm foundation. Dhanush is as good as always but even his performance isn’t enough to stop the film running out of steam long before the train reaches its destination. Worth a one-time watch in the cinema for the scenery and Dhanush but disappointingly that’s about all.