Buffoon review: Ashok Veerappan delivers an edgy political thriller

Buffoon is set in the coastal area of southern Tamil Nadu. The location has been specifically chosen.

As regards the plot of Buffoon, drama artists Kumaran (Vaibhav) and Muthaiah (Athangudi Ilayaraja) from Karaikudi plan to go abroad to earn money as the drama industry is in the doldrums.

However, since they lack enough money, they temporarily join drug lord Dhanapal as lorry drivers. One day, Dhanapal instructs them to transport salt in a lorry. But the police arrest them after finding drugs instead of salt. How Kumaran and Muthaiah escape their problems forms the rest of the story.

Compelling work by actors, cinematographer

Vaibhav as Kumaran, a young man who gets stuck in problems that are not his own, is good in scenes that are his forte. Anthakudi Ilaiyaraja as Muthaiah is decent too. Their friendship is the best part of the script.

Joju George comes in an audience-pleasing role and shines bright. In a character similar to his role in 2021’s action-crime drama Jagame Thandhiram, he fits the bill perfectly.

The performances of Tamilarasan, Adukalam Naren, and Jayapalan strengthen the movie. They are all convincing and are the strong anchors on which the story is based.

Anagha portrays a refugee from Sri Lanka. It is a good character but has less scope. She does not get to do much and artificiality prevails in dubbing. But then, the character raises some disturbing concerns regarding the nation’s treatment of refugees.

Santhosh Narayan’s background music and songs add strength to the storyline. The background score in the finale episode is just outstanding.

Dinesh Purushothaman’s cinematography treats our eyes with beautiful seascapes. The movie is filmed well to reflect a tense and sombre mood. It’s technically brilliant, taut, and energetic.

Director stumbles

Director Ashok Veerappan does a decent job in handling the screenplay and direction. The problem is that he has tried to talk about too many issues — the lives of unsung theatre artists and the issues they are facing, Sri Lankan refugees, and the condition of diaspora Tamils.

Though the topics he tries to discuss are noteworthy — which he has inserted through various elements in the film — we feel that the director has stumbled over the main idea that he wanted to convey.

When the lead characters get into trouble, sometimes we don’t see them even nominally nervous about it.

Also, many scenes in the first half are edited without a pause, as if they were trying to make a two-hour trailer. This keeps us away from the tension on screen. We don’t get connected enough to the characters.

Another part that didn’t work is the romantic track. Otherwise, it is a good thriller that depicts the connection between the poor, police, drug mafia, and politicians.

The story and the setting are believable; the action scenes are also good enough to pass the test. The plot of Buffoon deals with contemporary issues and politics seriously but lacks the punch needed.

Buffoon would have been a great thriller had it compellingly put forth the main point without unnecessary scenes. Even then, the movie is still a good watch. It is entertaining and worth a visit to the theatre.