Films can be entertaining, but not at others’ expense. After many years, an old idli-selling woman finds the same vessel by a riverbank. Maasha doesn’t like him because he is bald and dark. She feels it would be useful if Akshaya (Jyotika) and Revathy (Maasha) have the vessel. By the way, this is done to induce humour—acting like mentally-challenged, that is. ‘Naan Kadavul’ Rajendran’s character equally gets shamed for not being conventionally good looking and attractive. 0
Comment(s) Jyotika keeps a gun in the vessel and it gets multiplied and keeps on coming. Akshaya Paathiram was given to Yudhishthira by Lord Surya in Mahabharata. How can this elicit laughter and in what way is this funny? Yogi Babu’s appearance is yet again made fun of. Jackpot opens in 1918 and we are shown a milkman stumbling upon an Akshaya Paathiram. In an interview with us, Jyotika had said, in Jackpot, she got to do everything that a hero typically does. After all, she dances energetically in a colourful song where she’s called a “shero”. I very well did—when the film was less-offensive. The idea is terrific, no doubt. It provides an unlimited amount of food to eat. Advertising
You don’t expect ‘logic’ when Suriya’s face gets morphed into a lion in the Singam franchise. She not only does that but is also made to act like a dog and say “baba mar gaya” line from Nayakan, with a twisted face. Advertising
I am not saying I didn’t enjoy Jackpot. Such scenes made me wince. To be honest, it was a relief to see Jyotika not going into her usual lecture mode, with moral science classes—despite having Samuthirakani in the film. But Kalyaan could have built some other story around this premise, instead of making Jyotika mouth awkward punch dialogues. Jackpot is all about how the con women get the vessel buried in the backyard of Anand Raj’s home. He is referred to as ‘muththina aamai’, ‘kaatu erumai’ and ‘echchathattu moonji’ among many other unpleasant stuff. So, you shouldn’t have a problem when Jyotika kicks 50 men all at once and they fly in the air. It offers mindless entertainment that neither cares about formula nor treatment. Basically, whatever you keep in Akshaya Paathiram gets enhanced multifold. Also, this should be her loudest film yet. Jackpot doesn’t take itself seriously. Trust me, I judged him for doing that. So, we also shouldn’t. Jackpot borrows a lot of situations from—Mahanadhi, Jayam, Viswaroopam and Anniyan—to make the audience laugh. Apparently, his character tries to commit suicide in Jackpot as he thinks others don’t find him desirable. It is obvious Kalyaan wants to just entertain the audience and he puts all his effort into making Jyotika ‘a mass hero’ and builds drama even from subtle moments. Oh, also watch out for this scene where Anand Raj pretends to be a woman and how ‘she’ falls for Rajendran’s character who once dipped a slice of pizza into a cup of tea—literally. The actor himself is okay being body-shamed. But the makers need to realise the joke is only on them. And she can’t even stand his kiss on the phone. Again, you don’t expect ‘logic’ when a commercial actor comes out with a film that literally says, “Hey, I am making this for hardcore fans.” After Gulaebaghavali, Kalyaan indulges in a full-on “heroine worship” and I think it is all right.