In *Jailer 2*, Nelson Dilipkumar focuses more on worshipping Rajinikanth’s image than on crafting a story that might actually lend him some credibility.
While *Jailer 2* is—by almost any standard—an improvement over *Jailer*, one has to ask: given that *Jailer* was as excruciating as a toothache, is there really anything to celebrate? The answer? Nothing at all. The most disappointing aspect of this sequel is not just that it is exhaustingly overstuffed and tediously numbing—a veritable cinematic tumor that would require surgical removal from one’s brain—but something even more disheartening that becomes clear scene after scene: those of us who once valued Nelson Dilipkumar for his deliciously sharp, dark humor (in *Kolamavu Kokila* and *Doctor*) should not expect to find that same sensibility or those same clever pleasures in a filmmaker who has been swallowed by the void of monotonous "hero-worshipping" montages, stylized violence, and a barrenness that stifles any spark of intellect.
Director: Nelson Dilipkumar
Writer: Nelson Dilipkumar
Stars: Vijay Sethupathi, Hrithik Roshan. Rajinikanth
To say that *Jailer 2* is aimed exclusively at Rajinikanth’s fans reveals less about the film itself than it does about the kind of cinematic pleasures it offers its audience—or, more broadly, about the average viewer’s willingness to reward films that are, in essence, identical to one another.
There is a limit to how one can critique films like *Jailer*, *Pushpa*, and similar titles—both their predecessors and their successors—within the realm of mass-market cinema. At a certain point, it becomes inevitable to turn one’s gaze toward those who buy tickets for these films—audiences that erupt in euphoria at the same old clichés: the hero’s grand introduction, or those scenes where the protagonist strikes a pose while dispatching villains. The goal pursued by these directors remains constant: to thrill the viewer by showing their favorite actors smiling at the camera or walking away from an explosion in slow motion.
The only thing that changes is the execution—which, in turn, almost always boils down to a simple choice: whether to position the camera to the left, to the right, below, above, or directly in front of the hero. A common defense is that the general public does not visit movie theaters regularly and leads such a monotonous life that they require "stress antidotes"—like *Jailer 2*—to tune out. But if these viewers are seeking an escape from the monotony of their existence, isn't that same brand of escapism already available in abundance on streaming platforms, where one formulaic commercial film follows another? While it is true that the theatrical experience offers a collective thrill that streaming cannot replicate, this does not explain why such a thrill must be built upon such a monotonous repertoire of cinematic devices.
If the argument is that people need cinema to flee from their drab lives, shouldn't that form of escapism offer something more than a fleeting rush of familiar imagery and artificial excitement? A film like *Jailer 2* will not solve anyone’s personal problems, nor will it remedy the stifling mediocrity that defines the commercial film industry. The public celebrates and rewards works that are little more than an exercise in "getting by"—mediocre products that barely meet the bare minimum—and the industry, emboldened by these enthusiastic responses, continues to churn out more "masterpieces" of the shoddy variety. This reciprocal exchange of incompetence creates a vast, self-perpetuating mechanism that spews out only the faintest traces of imagination.
The real tragedy, however, is that a director like Nelson—who began his career showcasing a very distinct, dark sense of humor—now seems to be bowing to the dictates of this mechanism in pursuit of recognition, box-office success, or the chance to work with major stars. Whatever his motivation, the result is the erasure of the very singularity that once made his films unique. But what is the value of such recognition, gained by pandering to an audience that demands little more from cinema than empty hero-worship and bland violence—not to mention a complete lack of interest in exploring the realm of the fantastic?
The Nelson behind *Kolamavu Kokila* and *Doctor* would likely have brought out the—borderline incestuous—nuances in the relationship between Kantha (Vidya Balan) and Chakri Kalpak (Mithun Chakraborty), given how frequently he kisses her hand. He might have made more of the various elements surrounding the "color of the water," the villain who forces a man to sell tea beneath a photograph of himself, or the burly shop owner who is asked to sit on a crate containing someone trapped inside like an animal.
In *Jailer 2*, Nelson focuses more on worshipping Rajinikanth’s image than on crafting a story that offers any shred of credibility. The more shots I saw of him smiling and walking in slow motion, the more it felt as though the filmmakers were patting themselves on the back for getting away with what can only be described as the bland—the "beige"—equivalent of a human achievement; all done with style, of course, and in slow motion. Nelson’s ambition in *Jailer 2* is on life support: he knows how to have Chakri, confined to a wheelchair, launch himself down a ramp and land in the back of a truck, but he has no idea how to keep his film from feeling insubstantial and weightless. Every scene glides across the screen without leaving a trace, like a mere wisp of vapor.
Nothing feels worth remembering or significant enough to hold onto. There is a complete lack of urgency, as Nelson insists on maintaining a "light" tone—presumably with a family audience in mind. The director seems determined to keep the viewer in a jovial mood; consequently, when dramatic scenes do appear, they don’t just land like heavy stones thrown at one’s head—they also provoke a sense of rejection due to their cheap, low-grade melodrama. Even these unbearably heavy-handed moments barely manage to establish any real conflict, and whatever conflict does arise is resolved with astonishing ease, often in a matter of seconds.
In other words, nothing that happens in *Jailer 2* sticks in the memory. Each scene erases the memory of the one before it, until everything eventually evaporates—both from the screen and from the viewer’s mind. However, there is a revealing moment in the film that sheds light on Nelson’s casting process: for his birthday, Chakri is asked to choose a famous dancer by swiping through photos on a screen; he selects Nora Fatehi. It is likely that Nelson was granted similar freedom in assembling his cast—picking names from photographs—with the only difference being that, unlike Chakri, he was able to choose several.
This explains why *Jailer 2* features so many stars. The film is packed with familiar faces who, unfortunately, are barely required to show even a shred of talent. In essence, these cameos and big-name appearances achieve nothing more than the sublime art of being instantly forgettable. I won’t reveal who appears or what they do, as *Jailer 2* has little else to justify its own existence. Simply telling your friends which celebrities show up in the film is enough to save them a trip to the theater—unless, of course, they really want to see Rajinikanth walking in slow motion.
Nelson could have opted for extras or actors struggling to break into the industry. Show business is a brutal environment, where thousands of people strive daily just to find work. Why not offer them an opportunity through these cameos, rather than resorting to the hackneyed trick of hiring superstars for a mere five-second appearance? Those big names certainly don’t need those five seconds; for an unknown actor, however, it would be a chance to make a genuine impression. But one shouldn’t expect much sense or logic from filmmakers who seem to equate success with catering to the most basic, undemanding impulses of the general public.
Incidentally, the trash that Nelson serves up to his audience in *Jailer 2* was met with applause in the theater where I watched it. If that applause means anything, it is that this cult of mediocrity—fueled as much by those who provide it as by those who consume it—will continue, with ever-increasing arrogance. It seems nothing will stop *Jailer 3* from arriving. Brace yourselves.
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