Jithu Madhavan’s directorial debut Romancham and his subsequent film Aavesham established his interest in eccentric characters, absurd situations and humour that can take an unexpectedly dark turn. With Scene, the filmmaker brings those sensibilities to Tamil cinema through an investigative thriller that refuses to follow the usual rules of the genre. Starring Suriya, Nazriya Nazim and Naslen, the film has a serial killer at its centre, but its real fascination lies in the unusual people surrounding the investigation.
Suriya plays Inbaraj, a Crime Branch officer who is keen to retire from the police force. He has submitted his resignation five times, only for his superior Stephen (Lal) to reject it and assign him another important case. Inbaraj is exceptionally meticulous, often making colleagues go through forensic reports repeatedly until he is satisfied that every detail has been examined. However, there is a significant reason behind his desire to leave the force. His eyesight is deteriorating, making it increasingly difficult for him to continue working as an investigator.
When a new series of murders bears an uncanny resemblance to the crimes of a notorious perfume killer whom Inbaraj had previously apprehended, the officer finds himself drawn into another complicated investigation. The person responsible is Eeswaran (Naslen), a ruthless killer whose seemingly harmless demeanour makes him an intriguing antagonist. The film’s central conflict is not simply about whether Inbaraj can identify the murderer. It also explores how a cop gradually losing his vision can take on a criminal who is constantly finding ways to stay ahead of him.
Maya (Nazriya Nazim), Inbaraj’s house help, becomes an important part of this equation. As his eyesight worsens, she effectively becomes his eyes, assisting him through the investigation. However, Maya is far from a conventional supporting character. She has her own abilities, vulnerabilities and a troubled past, including childhood trauma that the screenplay gradually brings into focus. Her relationship with Inbaraj also develops into an emotional and romantic thread.
The eccentricity extends to Inbaraj’s family. His father is a forensic expert with an extraordinary understanding of his field, although memory problems affect his everyday life. His mother, meanwhile, is a personality expert whose own behavioural quirks make for some amusing situations. These characters might seem like distractions in a conventional crime thriller, but Jithu uses them to expand the unusual world in which his protagonist operates.
Suriya, Nazriya and Naslen make the most of the madness
The screenplay takes its time establishing this collection of characters. The first half is relatively subdued, with several scenes devoted to Inbaraj’s working methods, his personal limitations and the people around him. Some of the humour takes a while to land, and the investigation could have gathered momentum sooner. However, many of these early details eventually feed into the larger narrative. As the conflict between Inbaraj and Eeswaran develops, the film finds increasingly inventive ways to use the characters’ individual strengths and shortcomings. The third act, in particular, benefits from the unpredictable nature of their cat-and-mouse game.
Suriya is undoubtedly the film’s biggest strength. Inbaraj allows him to move away from the earnest, larger-than-life image that has defined several of his recent performances. Instead, the actor embraces the character’s awkwardness, stubbornness and occasionally reckless behaviour. His comic timing is particularly effective, and he is equally convincing when the investigation demands a more serious approach. The film also contains several affectionate references to his earlier movies, including familiar dialogues and moments that playfully revisit his screen persona. These callbacks are integrated into the narrative rather than becoming the sole reason for their inclusion.
Nazriya brings considerable energy to Maya. She is not merely present to assist the protagonist or provide a romantic angle. Her character has an independent emotional journey, gets her share of comic moments and even has action sequences that underline her capabilities. The chemistry between her and Suriya adds warmth to the film, although the development of Inbaraj’s romantic feelings could have been handled with greater ease.
Naslen is equally effective as Eeswaran. The actor plays the character with a casual confidence that makes his murderous activities all the more unsettling. There is something particularly amusing about the way Eeswaran approaches his criminal enterprise with the matter-of-fact attitude of someone attending to an ordinary job. His interactions with the people around him also give the antagonist a distinct personality. The supporting cast, including Lal, Anandraj, Rajpriyan and Suresh Mathiazhagan, contributes to the film’s eccentric atmosphere. Tovino
Jithu’s eccentric world has its limitations
Jithu’s biggest achievement is his ability to find comedy in situations that could easily have been treated as conventional thriller material. The film also plays with Suriya’s screen legacy through references to his earlier films. One particularly interesting sequence uses Ilaiyaraaja’s ‘Thendral Vandhu’ from Avatharam, bringing an affectionate film reference into the story while echoing its treatment of visual impairment. These touches add another layer to the film’s playful engagement with Tamil cinema. Yet the filmmaker’s enthusiasm for such ideas occasionally becomes a weakness. Some comic episodes interrupt the larger investigation, while certain developments rely on convenience. Eeswaran’s plans also become a little too apparent as the narrative progresses, reducing some of the tension.
Sushin Shyam’s music and background score complement the film’s peculiar tone, particularly during the more playful stretches and the climactic confrontations. The cinematography by Vineeth Augustian lends the film a stylised visual identity, while Ajmal Sabu’s editing keeps its numerous character threads moving. The technical elements support the film’s shifting moods without drawing unnecessary attention to themselves.
Scene is not a tightly constructed investigative thriller, and its uneven pacing and occasional narrative detours prevent it from reaching its full potential. However, Jithu Madhavan’s imagination, the unusual central relationship and three committed performances make it an entertaining watch. More importantly, it gives Suriya the freedom to have fun with a character rather than constantly playing to his star image. That alone makes Scene a refreshing addition to his filmography.
Also Read: Suriya Investigates A Murder As DSP Inbaraj In New Glimpse Of Scene
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