In what seems like a typical hero-centric commercial entertainer, PT Sir starring Hiphop Tamizha Adhi follows a templated approach. It showcases an underdog hero carrying a social message, combined with a love story, a villain characteristic of Tamil cinema, heroic fight scenes, catchy punchlines, and more. The plot, appearing formulaic at first glance, gradually shows potential to offer something novel. Director Karthik Venugopal’s effort, especially in the first 20 minutes, hints at an intention to refresh this tired framework with new ideas.
The film kicks off with an appealing introduction to its protagonist, Kanagavelu, or Velu for short. Velu is a physical training teacher at GP Matriculation School, and the introductory pieces, including the colorful and spirited visuals of ‘Nakkal Pudichavan da Kanagavelu,’ paint him as an endearing character. Hiphop Tamizha Adhi’s portrayal of Velu as a gentle, somewhat immature PT master who enjoys dancing with the school children adds charm and initial promise. As Velu advocates against other teachers encroaching on PT periods, there’s an impression that the film may develop in an engaging manner.
Expectations rise when the school’s ‘Magic Wall,’ where students inscribe their wishes that later magically come true, is introduced. However, some attempts at humor fail, especially the scenes where Velu competes with a student to win Vaanathi’s (Kashmira Pardeshi) affection. Despite these awkward moments, several segments in the school context do show a lot of promise.
The narrative delves deeper into Velu’s character by justifying his timid nature through an astrologer’s prophecy. This prophecy, suggesting that Velu must stay out of trouble until he marries to avoid ill fate, has led his mother to shape his cautious lifestyle. This premise generates some anticipation about Velu’s eventual romance with fellow teacher Vaanathi, expected to mark the end of his troubles.
However, the storyline takes a predictable turn when trouble inevitably finds Velu. This time, the issue extends beyond typical school challenges.
. The plot pivots drastically when Nandhini (Anikha Surendran), a young woman, endures assault at a bus stop. Her predicament worsens as she is blamed and shamed for wearing a “revealing” top, sparking Velu’s transformation from a mild teacher to a crusader against GP Institution’s Chairman, Guru Purushottaman (Thiagarajan), a formidable adversary.
In an effort to keep the film ‘family-friendly’ and to justify Nandhini’s drastic actions, the storyline reintroduces the Magic Wall and contrives a setting where she is depicted as a college student rather than a high-school girl. While the film’s intention to highlight the social evil of sexual harassment is valid, altering the victim’s age seems unnecessary for a plot professing that all women are susceptible to such dangers. Moreover, Velu’s quest for justice spans broader society, making one wonder why the film is titled PT Sir.
Notably, the film’s clever attempts at crafting a loophole-free screenplay merely act as groundwork for transforming Velu into a savior figure for women. This shift is unconvincing. Films like Thiruchitrabhalam or Maaveeran take a more gradual approach, but here, one scene with ‘Kanda Shasti Kavasam’ launching in the background is all it takes for Velu to adopt a heroic avatar. The suddenness of his metamorphosis into a justice-seeking vigilante, despite his lack of understanding of deep-rooted social issues, feels misplaced. Particularly, considering this is a character initially portrayed needing interventions to recognize the widespread harassment women face.
Eventually, PT Sir explores sensitive subjects and aims to deliver messaging on social issues but reaches for easy resolutions. Even disregarding the male savior trope, the film offers nothing new in the David versus Goliath dynamic between Velu and the villain. Instead, it resorts to predictability and familiar cinematic moments.
Ultimately, PT Sir presents itself as a film that leverages the theme of women’s empowerment to deliver punchlines and craft a protagonist with a renewed heroic image. While any attempt to counteract victim-blaming is commendable for its social media reach, one can only hope that the underlying message of the film truly resonates with its audience.
PT Sir is currently showing in theaters, inviting cinema-goers to experience its mix of social commentary and commercial entertainment.
