Cast: Siddharth, Avinash, Sanath, Radha Ravi, Amarendhran
Director: Deeraj Vaidy
Actor Siddharth takes his title ‘Jil Jung Juk’, for his latest production venture that is seemingly inspired by comedian Vadivelu’s famous line Jil Jung Juk, which refers to three types of women namely Jil (good), Jung (decent) and Juk (poor) from yesteryear film ‘Kaadhalan’. Does it live up to the hype created through its quirky trailer and promotional videos?
Set in 2020, when petrol and money are said to be in scarce, three weird characters Naan ‘Jil’ Sivaji (Siddharth), ‘Jung’ lingan (Avinash) and Jaguar Jagan aka Juk (Sanath Reddy) were asked to deliver a bright pink color ambassador car to a Chinese gang in Hyderabad headed by Deivanayagam (Amarendhran), once a dreaded drug mafia leader. The car is now used to transport a huge quantity of cocaine, which the three JJJs are not aware of. Apparently, Deivanayagam on the advice of one his sidekicks Pai (Bipin) takes the help of a scientist named Marundhu (Bhagavathi Perumal) to convert the cocaine into a chemical and spreads it on the car, that they later cover with pink candy coloured paint. He also gives them another chemical to separate both.
The film then introduces Deiva’s enemies named Rolex Rowther (Radha Ravi) and another drug peddler Attack Albert (Sai Dheena).
The three men embark on their journey and what follows is a non-stop wacky act and petty misfortunes that are narrated in this overly ambitious humours tale, with an end resulting in being a less engaging zany entertainer.
Siddharth in his eccentric character of Jil with crazy blue coloured hair, bragging Chennai lingoes with uncanny jargons scores big time. Sanath and Avinash play effective roles that foil Sid. Though Bipin initially grabs your attention with the delivery of his dialogue (based on the popular Harahara Mahadeviki “what’s app…” style), it becomes monotonous after a point. All others in their brief roles including Radha Ravi, Amarendhran, RJ Balaji, and Nasser are convincing enough.
Though made on a tight budget, Siddharth managed to get the best from his technicians. Cinematographer Shreyas Krishna’s blend of colours, quirky angles and lighting compositions and the loud and feisty BGM by Vishal Chandrashekar are the biggest pluses to the film.
While the first half manages to raise few laughs at regular intervals although they belong to the adult genre, post interval the film drags aimlessly. The major drawback is its ordinary screenplay. What ideas looked great on paper, lose steam in execution and the jokes fall flat many times, especially during the latter half.
Overall, JJJ is enjoyable only in parts.
