Vishwa, an idler, gets the job of his constable father after the latter is killed during a police operation. Will Vishwa, who is glad that his father is dead, go after his dad's murderers?
wants to be a sentimental story as well as a comedy. The tone is uneven — one moment we are asked to get sentimental and then in the next, we are told to laugh. This is jarring, as is the manner in which the film turns from an emotional father-son tale to a comedy. To the director's credit, he does this with confidence that we begin to enjoy the humour after initially feeling disconcerted.
The film is about Vishwa (Dinesh), a wastrel, who is a constant source of embarrassment for his police constable father (Rajesh, solid in the little screen time that he has). He is yet to clear his arrears, has no job and is also constantly picking up fights with the assistant commissioner's son (Nitin Sathya). The AC gets the constable killed by two goons after the latter threatens to expose him for a cover-up. Vishwa gets a job in the police department but will he go after the killers, given that he hardly cares that his father is dead?
Comedy seems to have become a quick-fix to our filmmakers and Thirudan Police is proof of that. In the first half, we get to see Vishwa's relationship with his dad and the slights he has to suffer as a police constable. The former is full-blown melodrama while the latter is given a lighter, comic touch. The dysfunctional father-son relationship is reminiscent of films like
7/G, Rainbow Colony
and even the recent
. In fact, Dinesh, who performs with a strong
hangover that is grating initially, has a scene in which he finally breaks down after realizing the worth of his father, and it recalls a similar scene from the Dhanush film. The trials and tribulations of a low-level policeman is nicely realized but the credit for these scenes not slipping into an expose should go to Bala Saravanan, who, as Vanangamudi, Vishwa's constable friend, keeps you in splits. In fact, he is the pin that Caarthick wields every time to puncture the bubble of seriousness that enters the story now and then. Every time Vishwa starts reminiscing about his dead dad and gets emotional, Vanangamudi turns the scene into a comedy with his one-liners.
The second half is all about Vishwa tracking down his father's killers but then, the director seems to have realized that this might turn the film into a fairly routine revenge saga and so turns the film into comedy. The villains (Rajendran in a show stealing performance and John Vijay as his sidekick) who seemed menacing initially suddenly become buffoons more or less. Even the manner in which Vishwa gets his revenge is told in a humorous manner. We laugh at the shenanigans of the characters but somewhere in the back of our minds, but not wholeheartedly, as the transition from one genre to another isn't seamless, unlike in a film like