The film also has two female characters for making it believable, because when has our ultra-macho hero ever not had a woman pining for him while he excelled away and another woman who, predictably, features as the villain who must be kept in her place (remember Nilambari in ‘Padayappa’, Geetha in ‘Vallavan’, Kaleeshwari in ‘Seema Raja’, and the list goes on)? And while the film has minted Rs 100 crores in two days, we are baffled by how filmmakers choose to waste a good actress by giving her the least utilised role in the film? And do it so blatantly without an ounce of guilt or accountability.
Back in May this year, when ‘Mahanati’ hit the screens and a gorgeous Keerthy Suresh sashayed on the screen emulating the late Savitri Devi with such elan and grace, it wouldn’t have been an exaggeration if someone were to say that she’s got what it takes to carry a film all by herself. While she had some equally strong actors part of the cast, it was her performance that won hearts, it was her sincerity that had critics eating a humble pie about her, and it was her drive to carry the weight of an already popular (and controversial) late star and make it her own. It was the role of a lifetime and Keerthy knew that she’s not one to let go of such an opportunity.
Post that, Keerthy has had more films releasing. Those films not being on the same league as ‘Mahanati’ is a different question, but those roles were so minuscule, so superficial, and so unnecessary, that it does a huge disservice to not just Keerthy Suresh as an actress but her as a person. Have filmmakers not seen what she’s capable of?
If Keerthy walked in ‘Mahanati’ with the same shadow and camera angle that would be reserved for a hero, then she was reduced to a prop with nothing to contribute in AR Murugadoss’ ‘Sarkar’. Her character is someone who follows Vijay’s Sundar Ramasamy around like a lovestruck puppy, always in awe of what he is capable of while we, as the audience, know nothing about her. The forced love story and the lack of interest of even making her character go beyond the love story are so apparent that it reminds us of how filmmakers would treat an actress of Keerthy’s popularity (and prowess) just because she’s saleable now.
Post ‘Mahanati’, while the offers might continue for Keerthy for big budgeted ‘mass’ films, the quality of roles never seems to evolve. Just like how in ‘Saamy Square’ and ‘Sandakozhi 2’, the idea is to have her as the pretty prop to the macho hero who takes his story further. And what do we know of her character, her background, her thoughts and perspectives? Zilch.
