‘Scene’ Review: Suriya’s the Inevitable Star, But Naslen’s the ‘Blinding Light’ That Can’t Be Ignored

There’s a ‘logic versus ego’ line in the opening scene of this ‘mass’ Suriya comedy-action entertainer. And that line is mouthed, not by the film’s hero, DSP Inbaraj (Suriya), but its villain, Eeswaran (Naslen). And much of what transpires in “Scene” has little to do with what would adhere to logic; in fact, it flies in the face of it. At the same time, there’s a complete absence of ego that marks it as one of the most self-aware films out there. 

Factor this in. Your first introduction to the characters in play is a young student named Eeswaran, who offers advice to a group of bumbling corpse-disposers, who later grows into a serial killer-in-hiding. Inbaraj is a DSP (Deputy Superintendent of Police), who wants to resign, but his boss won’t hear of it. And you’re curious why, because minutes prior, a colleague wants people to sign a petition to get him fired. 

In fact, Suriya’s “entry” as Inbaraj drew as many laughs as it did whistles, after several teases, roughly 10 minutes in. A feared and equally respected top cop, he is equally loved and loathed by colleagues and foes alike. 

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However, circumstances force him to work with a hastily assembled team to take on a copycat killer, who’s been aping the crimes of a serial killer he already put away. With no headway in sight, he gets by with help from his assistant Maya (Nazriya Nazim), an amnesiac forensic investigator Irudayaraj (Anandraj) and a perennially drunk criminal psychologist, Selvi; the latter two just happen to be his parents.

“Scene” isn’t just Suriya’s most massy film this year, it is also his most entertaining. “Karuppu” deified him, “Vishwanath & Sons” idealized him within reason, but it is his latest film that humanises him and draws out his flaws and leaves you laughing with him, rather than at him.

But just like “Karuppu” and “Vishwanath & Sons” before it, “Scene” forces you to shake your head at the notion of imagining this film without him. He is what draws you to the ticket counter and he is the one who keeps you there till the end credits. There are a couple of cameos and special appearances that by themselves, are scene-stealers.

Nazriya as Maya, Inba’s street-savvy assistant and a penchant for martial arts, is also played with a touch of vulnerability that sits quite well with who she is. Her banter with her father is brief but draws laughs aplenty.

Last but definitely not least, Naslen wows you from start to finish. His mercurial turns draw on a range of emotions – fear, confidence, guile, arrogance,  wrath and pride. It is hard to imagine him as the softboy (think “Premalu” or “Lokah”) anymore. 

This becomes sort of a debutants’ ball for most of the crew, in Tamil at least. Most of them work predominantly in the Malayalam film industry. This film marks the Tamil debuts of director Jithu Madhavan, composer Sushin Shyam, Naslen and editor Ajmal Sabu. But they all pull their weight like seasoned veterans.

Much of the credit for how this film has shaped up goes to director Jithu Madhavan, who shares writing credits with Dravid Selvam. The non-linear narrative works perfectly as does the fact that not much time is spent in exposition. The choice to tease Suriya’s entry and his utterly casual look pays off fabulously. Getting Suriya to lean heavily into his comedic side, while retaining his powerful charisma is a gentle nod to Fahadh Faasil’s Ranga (from “Aavesham”). The decision to write and develop flawed characters, each with their own “superhero-ish” trait and obvious hubrises, who make you afraid and laugh in equal measures, is an art in itself.

As someone who has watched all the Suriya releases this year, this is one you CANNOT miss in theatres. It doesn’t just keep you invested in the murder mystery at the heart of the story, it is entertaining to the core.