Singapore Saloon Movie Review - A Bad Hair Day!
There's a reason why Gokul's Idharkuthaane Aasaipattai Balakumara is still considered his greatest work 10 years later. The filmmaker has a particular humorous sense, and when he naturally gravitates towards it, the results are laugh-out-loud funny. In singapore Saloon, we get that in the raucous pre-interval stretch, when Gokul unleashes an openly caricaturish Sathyaraj, who forges comedic gold with his absurdist scripting. It's just January, but we already have a top candidate for the year's best comedy moment!
However, following this high, the filmmaker decides to pursue the melodramatic way in the second half, which feels like a different picture completely and ends up making us laugh at the unintentional hilarity in the situations. Instead of the lightness with which the premise - Kathir (a subdued RJ Balaji, who cannot rise above the shallow characterization), a young man inspired by Chacha (Lal, who instantly lends dignity to the character), the barber in his village, wanting to become a hairstylist against all odds - is treated in the earlier sections, we get heavy-handed messaging that simply does not work due to the broad beats in the writing.
Even when the protagonist is pressed into a corner, his solution to all of his problems appears overly convenient. All it takes to change his fortunes is to offer a makeover to a gang of slum lads! We never witness how he performs this makeover through his hairstyling abilities; in fact, the lads' new appearances are revealed as a result of their costumes!
But Gokul's effort at magical realism, which includes an unexpected appearance by a star at the protagonist's doorway and a flock of parrots, works to some extent. The director also puts a unique perspective on familiar events. Like Kathir's father (a pleasant Thalaivasal Vijay), who, unlike fathers in films in this genre, is sensible and supportive; the miserly father-in-law (Sathyaraj), who immediately agrees to marry off his daughter to the protagonist; and even the rival, who ceases to be one at a certain point!
However, following this high, the filmmaker decides to pursue the melodramatic way in the second half, which feels like a different picture completely and ends up making us laugh at the unintentional hilarity in the situations. Instead of the lightness with which the premise - Kathir (a subdued RJ Balaji, who cannot rise above the shallow characterization), a young man inspired by Chacha (Lal, who instantly lends dignity to the character), the barber in his village, wanting to become a hairstylist against all odds - is treated in the earlier sections, we get heavy-handed messaging that simply does not work due to the broad beats in the writing.
Even when the protagonist is pressed into a corner, his solution to all of his problems appears overly convenient. All it takes to change his fortunes is to offer a makeover to a gang of slum lads! We never witness how he performs this makeover through his hairstyling abilities; in fact, the lads' new appearances are revealed as a result of their costumes!
But Gokul's effort at magical realism, which includes an unexpected appearance by a star at the protagonist's doorway and a flock of parrots, works to some extent. The director also puts a unique perspective on familiar events. Like Kathir's father (a pleasant Thalaivasal Vijay), who, unlike fathers in films in this genre, is sensible and supportive; the miserly father-in-law (Sathyaraj), who immediately agrees to marry off his daughter to the protagonist; and even the rival, who ceases to be one at a certain point!
Eventually, it is these fresh perspectives and laughter that save our encounter from being a horrible hair day.