At first glance, ‘PT Sir,’ starring Hiphop Tamizha Adhi, seems like yet another conventional hero-centric commercial entertainer. It’s packed with all the typical elements one might expect: an underdog protagonist, a central romance, a villain straight out of the Tamil cinema playbook, numerous fight sequences, punchlines, and, of course, a social message. However, 20 minutes into the film, a first-time viewer might find themselves wondering if director Karthik Venugopal’s sophomore effort is aiming to breathe new life into this well-worn template.
The film introduces us to Kanagavelu, better known as Velu, a physical training teacher at GP Matriculation School. There’s a vibrant charm and whimsy in how Velu is presented to the audience. The song ‘Nakkal Pudichavan da Kanagavelu’ visually and lyrically captures Velu’s character — an unassertive, childlike PT master with a penchant for dancing alongside school children, all while making a subtle critique against teachers who encroach upon PT periods.
This initial portrayal shows promise, hinting that the story might evolve imaginatively. There’s a curious ‘Magic Wall’ at the school where students write wishes that somehow come true, adding to the tale’s playful and enchanting tone. Despite a few awkward comedic scenes, such as Velu competing with a student for the affection of Vaanathi, a fellow teacher played by Kashmira Pardeshi, these segments largely succeed in capturing the viewer’s interest.
The narrative even attempts to delve into Velu’s background, explaining why he is so meek. As per an astrologer’s prophecy, Velu must avoid trouble until he marries, or he will meet a tragic end. His mother, played by Devadarshini, reinforces his timidity, restricting his nighttime outings and steering him into a safe 9-to-5 job as a teacher. This prophecy also serves to highlight Velu’s romance with Vaanathi, suggesting that their marriage might be his salvation.
But as anticipated, trouble does find Velu, although it isn’t the typical kind one might expect in a school with hormonal teenagers. The film takes a darker turn when Nandhini, played by Anikha Surendran, is assaulted by a group of hooligans at a bus stop. She is then shamed for supposedly “inviting” the attack by wearing a “revealing” top. This incident triggers Velu to confront the school’s tyrannical Chairman, Guru Purushottaman, portrayed by Thiagarajan — a powerful and dangerous adversary.
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In an attempt to keep the film family-friendly, and to account for Nandhini’s drastic actions, the story reintroduces the Magic Wall and places a college next to the school — making her a college student rather than a high-school girl. This adjustment is unnecessary for a film emphasizing that sexual harassment affects women of all ages. Moreover, Velu’s quest for justice extends beyond the school and college, targeting the broader society. This begs the question: why is the film called ‘PT Sir’ if the climax isn’t even rooted in the educational environment?
As the film progresses, it’s clear that the screenplay has been meticulously crafted to elevate Velu from a timid PT master to a valiant savior of women. Unfortunately, this transformation is executed clumsily. Unlike films such as ‘Thiruchitrabhalam’ or ‘Maaveeran,’ Velu’s shift to a mass hero ready to battle injustice is unconvincing. A single scene featuring ‘Kanda Shasti Kavasam’ in the background is all it takes for this hesitant PT master to morph into a crusading hero. The major flaw here is that Velu lacks the necessary insight into the complexities of handling sensitive issues like sexual harassment. His immediate resort to violence as a solution reveals his naivety. Ironically, this is the same character who purportedly shocks the judiciary with his actions.
Although ‘PT Sir’ attempts to tackle critical issues with its message, it settles for easy and predictable resolutions. Even if one overlooks the male savior complex, the film offers nothing novel in the David-versus-Goliath battle between hero and villain. Instead, it resorts to clichéd moments, culminating in a contrived climax that merely serves to deliver punchlines ripe for WhatsApp statuses and Instagram Reels. These moments seem designed to rehabilitate Adhi’s public image, steering it away from his ‘Clubbula Mabbula’ persona.
In the end, while any effort against victim-blaming can be seen as positive PR in our social media-driven times, one can only hope that ‘PT Sir’ imparts its intended lesson to the right audience.
‘PT Sir’ is currently playing in theatres, reminding viewers of the ongoing fight for women’s empowerment, though through a lens that might not always hit the mark.
