Amid the high-octane yet monotonous background score in “Turbo,” one distinctive sound stands out—the whirring noise of someone stepping on the accelerator, which echoes each time ‘Turbo’ Jose (Mammootty) is about to burst into one of his frequent fights. This sound is supposed to serve as a warning and build anticipation for the forthcoming action. However, despite the promised flurry of action scenes, the entire affair is constructed on such a weak foundation that viewers almost stop caring if the vehicle ever hits top speed.
Despite this, when considering filmmaker Vysakh’s previous work, the dismal “Monster,” what we receive in “Turbo” can be seen as an improvement. “Turbo” seems to operate on the principle that a film needs only the bare minimum of a storyline as an excuse to showcase a series of action set pieces and fill the gaps between them. Screenwriter Midhun Manuel Thomas’s task is merely to provide this skeletal framework, a job that does not allow him to reverse the downward trajectory of his screenwriting career.
The protagonist ‘Turbo’ Jose is presented as an ordinary man from the high ranges who has a proclivity for getting into brawls. Following one such scuffle, it becomes clear that Jose was not the intended target of the goons; instead, it was his friend Jerry (Shabareesh Varma), who is romantically involved with Indulekha (Anjana Jayaprakash). Jose’s effort to assist his friend leads to unforeseen consequences, escalating the action to Chennai. It is not long before their path intersects with Vetrivel Shanmuga Sundaram (Raj B. Shetty), a businessman shrouded in secrecy and involved in political horse-trading to seize power in Tamil Nadu.
Vysakh and Midhun dedicate the first half of the movie to setting up this straightforward narrative, free from ambiguities or grey areas, leaving the latter half for extended chases and protracted action sequences. This linear approach becomes one of the film’s drawbacks, as there are no surprises left once the central banking scam is unraveled. In a screenplay otherwise laden with clichés, Midhun does inject some interesting elements—for instance, Auto Billa (Sunil)’s Marlon Brando impersonation in a dilapidated mall where Jose reveals his true nature to his employer, or Jose narrating a traumatic childhood event to explain his close bond with his mother (Bindu Panicker).
However, in the end, “Turbo” will be remembered for recycling old tropes endemic to this genre and for its reluctance to explore new avenues. Much like every other second film these days, it also concludes with the promise of a sequel.
. Just like how the film describes ‘Turbo’ Jose, credit must be given to the creators for their level of confidence.
For fans of Malayalam cinema hoping for a nuanced and novel take on the action genre, “Turbo” may fall short of expectations. The background score, which should elevate the tension and excitement, ends up being repetitive, mirroring the film’s own repetitious action sequences. Despite Mammootty’s commendable effort to bring depth to his character, the weak screenplay fails to support his performance adequately.
One might argue that the film is meant to be a mere vehicle for action sequences, but even then, it struggles to maintain coherence and interest. The straightforward plot, void of any significant twists or character arcs, reduces the emotional investment audience might have had otherwise. The film’s reliance on clichés and predictability makes it easy to anticipate the outcome of most scenes, robbing it of suspense and thrill.
Moreover, the antagonist Vetrivel Shanmuga Sundaram, portrayed by Raj B. Shetty, is given a one-dimensional treatment. His character lacks the complexity and gravitas necessary for a compelling villain. This again underscores the film’s tendency to favor action over substance, leaving the narrative aspect undercooked.
In conclusion, while “Turbo” provides ample action and some moments of brilliance, it ultimately succumbs to a weak script and overused tropes. The film serves as a reminder that even the most thrilling action sequences need a robust story to keep the audience engaged. Mammootty’s performance stands out, but it is not enough to compensate for the film’s shortcomings. As the end credits roll with the hint of a sequel, one can only hope that the next installment brings more innovation and narrative depth to break from the monotonous cycle.
