REVIEW: ‘Prince’ – A series of jokes mixed with series of errors in a most inappropriate storyline

Sivakarthikeyan’s sense of humour and his exceptional timing sense, which can convert an unremarkable conversation into a funny comedy, are what add to the audience’s enjoyment of his films. In recent years, SK has established himself as more than just a comedian through a number of films, and his audience has embraced this and started to demand much more of him. Prince is a caution alert for SK in selecting his scripts because he is more than capable of running the show entirely with one-liners. The film’s creators’ primary goal is to make viewers laugh uncontrollably, with little regard for the story’s logic or seriousness. But the chosen story was far too complex to be presented in this manner.

Even after 75 years of independence, the main characters and the entire village are still convinced that the British are their enemies and cruel people. This obsession with “so-called” patriotism permeates every aspect of village life. You are discussing such a significant issue while attempting to convince the audience that humanity transcends national borders. There is no supporting backstory, no depth to the characters’ justifications, and no impactful scenes. It either makes us wonder why the villagers are acting so foolishly or makes us feel uncomfortable with how casually they are handling such a delicate subject.

Without a doubt, SK’s (as Anbu) easy-going humour and superb timing sense, as well as his body language in the majority of the scenes, are what make the film work. Sathyaraj, as “Ulaganathan,” also has his moments. His Republic Day speech is probably one of the best ones. Despite naive behaviour for Ulaganathan’s Grandfather being a freedom warrior, there are notable gags that have worked effectively and even offer us bursts of laughter, such the “Bottle guard” sequence and a really enjoyable climax. If the plot had made a little more logic, all of these would have worked better. One incredibly funny joke is followed by a string of cringe-worthy ones, and occasionally the jokes remind us of reality shows or an extended YouTube web series.

The cinematography by Manoj Paramahamsa is vibrant, and SK appears better than ever. With her debut performance, Maria did honour to the role of “Jessica.” Premji’s performance as “Boopathy” was a welcome surprise because it was something different for him to do. Every other character has contributed to the series of witless “Jokes,” which is what they are all supposed to do. Thaman’s music fits the style and is unquestionably a plus.

I wish there had been at least a few instances where the characters or the events might have been related to by the audience; for example, I have never encountered a teacher quite like Anbu. Instead of maintaining Sivakarthikeyan and working within his comfort zone, the filmmakers need to take advantage of the array of talents he has gained in this short period.