Jil Jung Juk – Quirky, New Age and Mostly Entertaining
Quirky comedy is a unique genre and possibly the most difficult too. If the maker is unable to get the audience to be in sync with the weird characters on screen the movie could turn out to be as tedious as watching a foreign language film without subtitles. The success of these films is a combination of your and the maker's ability to get into the world behind the screen.
Jil, Jung and Juk land a task of transporting drugs. What seems a straight road turns complex due to their own madcap actions and few conspiracies designed by a handful.
Siddharth is on a spree to be involved in films that make a conscious attempt to stay away from the crowd. Jigarthanda, Enakkul Oruvan, Kaaviyathalaivan and now this. He also does not want to get away from the crowd permanently and this is why we also get to see him occasionally in Theeya Velai Seyyanum Kumaru and Aranmanai 2 (The latter involves a crowd in itself). Whether or not he fits perfectly into these shoes is a different question. But what comes across as pleasing is his earnestness. Avinash and Sananth as Jung and Juk are very good. Sananth in particular seems to have the amazing ability to keep doing something. You never see him idle in the film. Look at how his facial muscles keep exercising even when the focus of the camera is elsewhere.
The technical team has done a neat job. Unlike films that try to go all out and completely crazy the team of Jil Jung Juk seems to have taken a calculated approach. So though the film takes place in the future it is set just 4 years ahead in 2020. The properties used in the film are that nice blend of vintage, current and future aesthetics.
Newcomer Deeraj Vaidy shows a lot of promise. The comedy, whenever it works is top notch. A lot of small but extremely innovative and interesting ideas are employed throughout. The self worshipping inspector speaking chaste Tamil is one such. The scene where Sananth asks for a bill after Siddharth loots a shop at gunpoint should crack you up like nothing recently. If that did not, then the reference to adult contents using the excuse of World cinema should. This particular scene where a character lets out orgasmic outbursts in the name of a self assumed language called Ugandish is a scream and is so well acted. Just as you thought the scene is over comes another bolt of laughter with the innuendoes involving 'faster' and 'coming'. The scene is not lazily written.The innuendoes are cleverly used and never sound vulgar. This scene is what an 'Adult comedy' is.
Please try explaining this to the makers of the recently released Kyaa Kool Hain Hum 3 and Mastizaade which took pride in calling themselves sex comedies. The attention to detailing too is subtle. Watch out for the cricket match on TV with the scroll running at the bottom – 'BP Petrol Series'. The events are supposedly happening at a time when petrol is scarce. Pleasantly surprising is the fact that this young team does not mix modernity and English. This new age cinema actually refers to . , and ! as pulli, araipulli and aacharya kuri.
With so many things going for it one wished Jil Jung Juk actually reached greater heights. But the less than inspiring last stretch at around 20 minutes with laughter having almost dried out sort of pulls it back. It is an irony that the film seems stretched a bit towards the end while it also seems to end abruptly.
Pushkar and Gayathri's 'Va' (Quarter Cutting) and the 2013 released Sutta Kadhai are the relatively recent attempts at quirky comedies in Tamil cinema that come to mind. They would give you an idea of how much disconnect these films could create if something goes awry. This should make us appreciate Jil Jung Juk all the more. A quirky and new age comedy that showcases sparks of brilliant humour and is adequately entertaining. Only wish it had ended with a bang!!!