The inspirations behind “Boat,” the latest Tamil period survival drama, span from the literary prowess of Ernest Hemingway’s 1952 novella, *The Old Man and the Sea*, to the intense and introspective atmosphere of the 1957 legal drama *Twelve Angry Men*. Hemingway’s narrative of an elderly fisherman battling the high seas and the exploration of morality within a confined space in “Twelve Angry Men” set the tone for what writer-director-producer Chimduven has envisioned – a two-hour dialogue-driven journey set on the Bay of Bengal that delves into social issues of the past while drawing parallels to their relevance in contemporary times.
In “Boat,” Chimduven introduces an ensemble of ten characters, each meticulously chosen to represent different social identities. This diverse group of survivors, who find themselves dissecting their lives, places in the social hierarchy, and the moral codes they are conditioned to operate by, becomes a microcosm of society aboard a fishing boat, desperate to evade Japanese bombers in 1943 Madras.
The opening sequence is haphazardly written, set on a beach in Madras, where the characters embark on their perilous journey hoping to escape the bombing. The boat is owned by Kumaran (played by Yogi Babu) and his elderly grandmother, Muthumari (Kullapuli Leela). Joining them are Lal (Chaams), a Rajasthani; Narayanan (Chinni Jeyandh), a Brahmin gomastha and his daughter Lakshmi (Gouri Kishan), a Carnatic singer; Vijaya (Madhumitha), a pregnant Telugu woman, and her son, Mahesh (Akshath). Two enigmatic men, Raja Muhammed (Sha Ra) and Muthaiya (MS Bhasker), alongside Pechiamma, a pregnant rat, also become passengers in this narrative. The final addition is Irwin Domas (Jesse Fox-Allen), a British Navy man who assumes control of the boat, reflecting the pre-Independence power dynamics by his mere presence.
As the boat ventures into the high seas, trouble strikes when they reach 12 nautical miles and the boat suffers damage. The situation becomes dire, necessitating that three people must abandon the vessel to prevent it from sinking – an existential dilemma that casts the entire journey into a precarious halt.
Chimbudeven’s motives with such storytelling are not focused on historical fidelity but rather on the philosophical debates the characters engage in. This is evident in a scene where Lal entertains the survivors with a puppet show on British history, disregarding Muthaiya’s corrections on historical inaccuracies.
However, “Boat” falters in its execution. The multiple layers of social commentary feel shoehorned into the dialogue rather than allowing the themes to emerge organically.
. The cinematography tries to keep the audience engaged despite the restricted setting; techniques like kerosene lamp lighting for night scenes and shots of the boat from underwater and by drone aim to bring visual diversity. Yet, these measures fall short of compensating for the plot’s thinness.
In an effort to inject tension into the narrative, the film introduces a subplot revealing a wanted terrorist among the group of survivors. The ensuing investigation feels contrived, adding to the viewer’s frustration. Moreover, a menacing great white shark lurking in the waters, meant to heighten the survival stakes, ends up highlighting the film’s shallow grasp on the survival thriller genre.
The physical, mental, and psychological effects of such an ordeal are barely explored. The pragmatic concerns of survival, such as the lack of food, water, or sanitation, are addressed only superficially.
Despite these issues, some praiseworthy concepts break through the surface. The film effectively illustrates how social constructs disproportionately burden those at the lower rungs of the hierarchy. However, the climax, which attempts a surprise reveal linking to a cinematic universe, feels forced and fails to uplift the viewer’s spirits after enduring the dragged-out narrative.
“Boat” is burdened by excessive dialogue, further marred by a loud score that overwhelms any chance for moments of silence and reflection. Ultimately, this results in an experience where the clamor and caricaturish characters leave more of an impression than the well-intentioned themes intended by the filmmaker. As the film diverges from its intended plot by more than 12 nautical miles, it struggles to find its way back, resulting in a disjointed and underwhelming cinematic journey.
Currently, “Boat” is available in theatres, leaving audiences to decide if they wish to embark on this rocky cinematic voyage.
