A memorable line from the iconic Tamil film, Baasha, finds its witty twist in Suresh Mari’s first directorial venture, “J Baby,” and it lands perfectly. “Unga amma Chennai la enna pannitu irrundhanga?” (What did your mother do in Chennai?)—the translated subtitle reads when a character converses with two Tamil men in Bengali. The scene sets the stage for a story that goes much deeper than its surface premise, delivering laughs, tears, and a touch of nostalgia.
“J Baby” introduces audiences to Shankar (played by Dinesh) and Senthil (played by Maaran), two of Baby’s five children, with a brotherly bond strained to the point of silence. The plot kicks in with the typical momentum of a buddy cop film, spiriting away the estranged duo on an accidental mission. The local police station serves as the unlikely nexus for their journey as they learn that their mother, missing henceforth, is now found but calls from the distant state of West Bengal. Now, it falls upon Shankar and Senthil to subdue old resentments and come together to bring back their mother. But questions loom large—what fuels their discord? What mysterious circumstances took their mother to West Bengal? And what shades of her past linger in the streets of Chennai?
The brothers’ amusing and accidental banter, stemming from linguistic confusions and misadventures, ensures laughter peppering the film’s first act. While this comedy holds sway, it’s the arrival of Urvasi—the veteran actor behind the character of Baby—that commandeers every scene. The second act uncovers her past with revelations that catapult the film into high emotional stakes, delivering an intimate portrayal of a woman who, after enduring years of hardship and scrutiny, emerges unpredictable and misunderstood even by her children. It is here that Suresh’s scriptwriting truly shines, sculpting a character initially perceived as ‘abnormal’ into an inspirational figure.
This narrative force is further bolstered by the skillful direction which touches upon the nuances of flashbacks, tying together ends of the story with subtlety and finesse. Urvasi encapsulates Baby’s essence with remarkable versatility, switching seamlessly between regional dialects, emotional states, and an embodiment of protective maternal instincts. In one poignant scene, a rift between Shankar and Baby ends with Baby approaching Shankar for food, a moment so tender it tugs at one’s heartstrings and cements Urvasi’s status as a formidable talent.
However, uneven moments, accentuated by overly dramatized maternal tropes, unfortunately, dilute the film’s otherwise authentic feel. Scenes that intertwine canines nurturing pups and images of expectant mothers seem dramatized to a fault, disrupting the film’s relatable fabric which otherwise stands firmly rooted in true events. Furthermore, the brothers’ visit to West Bengal, aligning with the Durga Puja festival, is one of many elements that, while rich with potential significance, do not quite integrate seamlessly into the narrative.
Despite bearing a faint resemblance to another film, “60 Vayadu Maaniram,” which also explores the theme of an elder with deteriorating mental health, “J Baby” evolves into a distinct tableau. It even cheekily nods to “Baby’s Day Out” in its own tagline, teasing a tale of inadvertent adventure on the part of the protagonist.
“J Baby” undeniably possesses the warmth and complexity that can evoke a spectrum of emotional responses. With more cohesive storytelling and balanced tonal shifts, it might have achieved a more polished cinematic experience. Nevertheless, the film stands as a heartstring-pulling narrative punctuated by robust performances capable of drawing laughter and tears. The film’s journey continues on the silver screen, contributing to the ever-evolving landscape of Tamil, and by extension, Indian cinema.
