Derby TamilYogi Review: When a man in a helicopter goes flying down as Mahabali in an Onam celebration, he must feel magnificent, or at least humorous. Rather, it comes as simple bewilderment, and that scene subtly characterizes Derby. The movie is based on the premise that scale and noise can replace storytelling, heaping festivals, fights, songs, half-formed romance without ever having to enquire why any of it is important. What might have been a chaotic yet heartfelt campus drama is drained out in form of a collage of unrelated events as they grow in frequency rather than effect until the point of exhaustion sets in.
The film directed by Sajil Mampad and written by Suhru, Suhra Ameer and Suhail, is an effort to preserve a few years of college life. What transpires is disjointed and random. No rhythm or emotional build, no feeling of development. Scenes come and go without a second thought and leave behind the impression of fragments as opposed to a story.
Even the campus is strangely out of touch with reality. Academics have been completely eliminated and instead there is a never ending sequence of parties, freshers day, arts day, food festivals, Onam events, outings and even film shoots. It lacks any sense of place, which makes the setting seem an overblown fantasy of a college life. The Mahabali helicopter scene merely increases that disconnect, asking more questions than thrilling.
Tone is developed at the beginning. A dancing queen takes part in belly dancing, wearing a weird costume, during freshers day, a scene which is comically incongruent. The movie is seldom in control after that. The story, which could be referred to as such, is about a group of friends that battles seniors and then battles juniors when roles are reversed. Arguments are caused by petty reasons, and there is no emotional mass and desire to develop them. Even the villains are shallowly drawn, to caricatures of excessive cruelty.
Popular tropes are invoked, such as the best friend who secretly loves the hero as he goes after another, popularised by Kuch Kuch Hota Hai. In this case, it is mechanical instead of organic and there is little emotional growth that can make it sound.
The performances have glimpses of performances but are not consistent. Adam Sabique, the actor who played young Mammootty in Ozler, has the air of a campus lead, but is hampered by the writing. Al Ameen is a promising actor who demonstrated good work in Prakambanam with Sagar Surya, but is mostly missused, and the humour is forced in many instances. Sagar Surya comes in late, practically as an after thought, and his role is rather of a cameo than of a full fledged character. The supporting cast, including Harish Sivaraman and Rish N K, creates a more positive impression, whereas the leading role of Johnny Antony is entrenched in the stereotype.
The use of music in the film is one of the most tiresome elements of the film. The soundtrack by Gopi Sundar is overused and at almost every corner, we have songs. They do not add to the story, they cut it off. Having nearly ten songs and little cumulative effect, the film tends to seem rather an narrative than a series of musical interludes. It appears that sometimes the main story would scarcely last half an hour without them.
This excessive use makes it a wear and tear viewing experience. The pace is created, and suddenly interrupted once again by another song. It is not only on screen but in the audience where the fatigue is exposed as the engagement gradually dwindles.
The movie is visually vivid technically with bold colours that seek to make it energetic. Nevertheless, this visual audacity is not able to fill the absence of content. The editing also adds to the issue, as the runtime is stretched out too long, which might indicate that not much has been cut.
The later effort to add emotional impact by use of an accident that shifts through the time is too late to make any difference. These moments cannot be felt without previously investing in the characters.
This leaves behind a film that is disjointed, confused in its chaos; a fragment of fights, romance, spectacle, and more; a film that has been thrown together with no binding force. It has no definite flow, no emotional ground, no significant development.
When it is over, there is not anger or disappointment, but relief. Derby attempts to be all things to all people, and becomes nothing in particular.
Rating: 1.5/5
