Aishwarya Rajesh's character Nandini is incarcerated for killing her abuser and the one who killed her sister. Outside, lawyer Chellappa (Lal) and public interest activist SI chakravarthy alias Sakkarai (Kathir) are collaborating to bring Nandini out. However, when Chellappa is discovered dead at his house and a little girl named muthu (Gouri Kishan) is discovered concealed in a cabinet holding a pistol, chaos ensues. However, seven more females later confess to Chellappa's murder. What is the true motivation of the murderer?
Sakkarai asserts early in the eight-episode second season of Suzhal S2 that the lesson learned from his previous case is that it is not their responsibility to categorize people as good or wicked and that anyone can be evil. Sakkarai, who is once again in charge of a murder case, is the one who repeatedly reiterates this theme throughout the series. Thanks to his prior case, which continued taunting him with the criminal but ended in a dead end and kept the murderer mostly unharmed. Nevertheless, he continues to focus on the typical suspects before finally cracking a clue after a laborious procedure.
Sakkarai discovers at the end of Suzhal S2 that everyone has the capacity for kindness. Sakkarai seems to have changed his perspective from one of half-empty to half-full. It seems to me that Suzhal 2 follows the same pattern as its predecessor, even if it may begin similarly to its first season and get off to a sluggish start before picking up speed to set a bigger scheme of things.
Although it takes a different form, abuse is also present in the backdrop of Season 2. This one is equally spooky, but Abraham Joseph's camera is sympathetic, and the lighting and framing of the scenes convey the message without resorting to voyeurism. The intellect of the audience is recognized. Since the series is set against the backdrop of the yearly Ashtakaali festival in the made-up seaside hamlet of Kaalipattanam, complete with a lighthouse and a castle/bungalow with a trap door that is eerily evocative of Enid Blyton's universe, water plays a significant role in Suzhal. The events here, however, are not quite that harmless.
Sarjun KM (three episodes) and Bramma (five episodes), who returns from season one, are the series' directors. Both directors have a respectable body of work, and they also add unique accents to the scenes and accompanying music. Sarjun's episodes make you think and wonder how you're going to comprehend all the material that is presented to you, but Bramma chooses pulsing drama where every minute goes by quickly.
Suzhal 2 discusses a wider network, that of organized crime, and the connection between the eight girls and a lawyer who fights for anti-oppression. The show, however, seems to be become a little too accustomed to luring viewers in with the incorrect accomplice and breadcrumbs that are quickly revoked in the following episode. Suzhal 2 fails to fool its audience, and we have already ruled out the typical suspects.
Suzhal deserves praise for providing Kathir and aishwarya rajesh with the character arcs and space they so richly deserve in front of the camera. Few filmmakers use their extraordinary gift; their features have ephemeral dances of minute expressions. The core of the series is Lal's Chellappa, a gift from the malayalam cinema business that the tamil industry has used to great effect.
Overall, Gripping As Its Predecessor
Ratings: ⭐⭐⭐✰