Tata and Toyota sure would have facepalm moments with these Madurai films, where their flagship models Sumo and Innova get tossed into the air and get crushed by sidekicks and villains. Hip-hop, Rock and an up and coming hero, you have a mass entertainer like Rekka.

The film remains incomprehensible like its title. Neither here nor there. I couldn’t make out if Rekka meant wings with its colloquialization, without it being “Rekkai”. Is it Chennai or any other Tamil? I am not sure.

Set in a calm Kumbakonam of temples and smooth daily life, Rekka has its charms—the prime one being Vijay Sethupathi. In the shot, when he rides a motorcycle with father KS Ravikumar riding pillion, the lead actor shows he is vulnerable to love and good-looking girls with a mere smile.

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He doesn’t look at his co-actor KS Ravikumar but lets us know what he is feeling with his responses. You would be surprised how Vijay Sethupathi’s performance adds a lot to his character as well as for others. However, he still can’t adequately lip punch dialogues, as though he still seems to be feeling shy. Sometimes, knowledge of good acting and films seem counter-productive, while ascending towards becoming a mass hero is no goal either.

As you expect, the hero is a dignified man, who is also a junior to a lawyer but we don’t see him work. It is merely said. Similarly, he kidnaps girls to help them elope and marry their loved ones. That is verbal too and hardly any visual, except for his own sister. We don’t see him bring her back either. All of it is spoken.

Then we have Vijay Sethupathi kidnap Lakshmi Menon in a miraculous sequence, where all the million dhoti-clad, scythe-wielding men in Madurai can’t stop him. Finally, we have all SUVs and MPVs failing “crush tests”. The film ends happily ever after from there.

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What works for the most part is Vijay Sethupathi’s emoting with his primary family members. One of his sisters placing her elbows on his shoulders as he plays chess will have rural women swoon for him. Vijay Sethupathi keeps connecting with his family, as though they were his real life family.

Lakshmi Menon comes across as desirable, though she looks puffed up. She looks typical of a rich woman in her early twenties, who is awaiting her wedding. She keeps assuming that she is being eloped with till the last moment.

There is even an allusion to the film “Ghilli” whose story Rekka resembles partially, in the eloping sequences.

The screenplay works, the music and the action sequences do too. However, the second half makes us impatient with the backstory and the sudden revelation that keeps coming out of nowhere. All these make for a tiring watch, despite the initial feel-goodness of the film.

“Rekka” gets incomprehensible for the most part and engaging for the other.

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