Director: Ok Johnson
Solid: Santhanam, Anaika Soti, Motta Rajendran
For diehard followers of the identical workforce’s A1 (all 15 of us), the primary hour or so of Parris Jeyaraj could be fairly the shocker. It’s as if the director began to take himself just a little too significantly after his first movie’s affordable success. He needs his wafer-thin plot to be correctly set, he needs his characters to have arcs and he tries actually exhausting at wordplay to maintain the jokes coming. For many of the first half, it’s like he needs each single dialogue to rhyme.
By way of the writing, all of it feels a bit like gibberish. We meet a lawyer who specialises in splitting up earlier than and after they get married. We additionally meet his son (Santhanam) Parry’s-based gaana sensation Jeyaraj performing songs Santhosh Narayanan appears to have had loopy enjoyable composing. We then meet one other heroine written by Johnson, which makes it much more clear that he’s nonetheless not met a residing, respiration girl in his life.
However all this feels prefer it’s main nowhere. In fact, it doesn’t take too lengthy for Jeyaraj and Divya (Anaika Soti) to fall in love, however the place is the movie taking us? It is going to take at the very least till the top of the primary half to get to the movie’s primary level. It’s actually an odd writing selection indicative of how little materials the director has gone into the movie with. It’s apparent he’s left every little thing to his actors and their capability to improvise on the set. To be truthful, that’s what labored nicely for him in A1, however that at the very least had a form of a context, that of a funeral to make even foolish scenes seem humorous. However in Parris Jeyaraj, the plot actually kicks in solely through the interval.
And, it’s this hilarious plot level that makes each joke work from then on. Revealing what that is would render the entire movie pointless, however let’s simply say that each Jeyaraj and Divya have very related Daddy points. It’s with this one-trick pony that the director manages to rebuild what felt just like the ruins of an grownup comedy. However the movie focusses extra on adultery than grownup to provide us a collection of LOL scenes which are too foolish to take offence to. Like a longish scene that concerned one of many strangest convention calls you’re more likely to see within the films.
If A1 restricted the Priyadarshan-style confusion comedy to at least one place, on this we get a mall and a wedding corridor the place every little thing that may go incorrect, does. We get recurring bits like an out-of-control Mottai Rajendran with a truck that may remind you of Duel and the director’s signature model of Iyer-bashing. It by no means actually comes collectively, however there’s a variety of enjoyable available in all of the inanity. Between laughing on the movie and with the movie, the silliness of Parris Jeyaraj is sweet to remind all of us that there’s no hurt in laughing at oneself every so often.