JDX is clearly Karthik Subbaraj's best work since Jigarthanda. Of course, it brings back the familiar "gangster & filmmaker" trope from the original, though it ups the stakes, emotions, and craft. On the whole, I still prefer the first film because it had a simpler core and didn't have to shoehorn any kind of messaging. But credit where it's due, the second half of JDX takes you into a space you wouldn't expect, (almost) hitting the right emotional notes, as well as showcasing some exceptional bits of writing. The first half of JDX, on the other hand, is probably the most well-shot in all of Subbaraj's films. Cinematographer Tirru is firing on all cylinders, getting the Madurai Western colour palette right and candidly capturing a host of differentially textured characters. SaNa & Subbaraj are an irrefutable combo, and somehow, the latter keeps extracting fantastic background scores from the former.
The writing in the pre-interval block and the climax are terrific. These segments bring out the best in SJ Suryah as a performer, even when they hark back to certain ideas from the first film. The remainder of the film rests on the able shoulders of Raghava Lawrence, who comes up with a spectacular feat. It's to the director's credit that we only see Alliyus Caesar and NOT Raghava Lawrence in the film. The supporting cast also pitches in with emotionally charged performances, and this includes good showings from Nimisha Sajayan and Ilavarasu - plus, the folks who played various members of the tribe. Naveen Chandra, as the antagonist, is impressive. I can say the same for the actor who portrayed Shettani.
Subbaraj's adoration for Clint Eastwood Westerns fully comes through in the first half, and while the humour quotient is less (when compared with the 2014 film), it keeps you visually hooked. The setup is elaborate, and in the beginning, I wondered why Subbaraj took the longest (and intricately detailed) route to get to the seen-before plot point from the first film. But, he surprised me in the climactic portion by offering solid payoffs. The only major downer is the visual effects for the elephant scenes, but I'm willing to let that slide since the makers didn't try to brag/reveal too much in their promotional material about it. On the whole, this is deliciously cooked meta cinema, and a splendid return to form for Karthik Subbaraj, the CINEMA LOVER.
