Remember that iconic scene in Say Anything where John Cusack holds up a boom box? Initially, the actor was hesitant, fearing it would make his character seem weak. It took a lot of persuasion for him to finally lift it on the very last day of filming, his expression a mix of anger and defiance. That powerful take, perfectly underscored by Peter Gabriel’s ‘In Your Eyes,’ became a legendary moment in pop culture.
Traditionally, cinematic heroes have shied away from vulnerability, deeming it less ‘alpha.’ Perhaps this is why Pradeep Ranganathan remains a compelling figure, even amidst critics. Despite being seen by some as a less refined version of Dhanush (who, in turn, is sometimes compared to a milder Rajinikanth, with inherited mannerisms), Ranganathan holds his own on screen.
What makes Pradeep Ranganathan’s performances resonate, despite moments that might feel cringeworthy, unoriginal, or even a bit ‘wannabe,’ is his willingness to embrace vulnerability. He portrays deeply flawed ‘incel’ characters—from the hypocritically sexist man in Love Today who judges his girlfriend while harboring secrets, to the insufferable, chain-smoking ‘Dragon,’ and now, the Dude who crashes his ex’s wedding demanding answers. When his characters face onscreen humiliation, audiences often feel a strange sense of representation, as he embodies the worst of male behavior.
While Rajinikanth is ‘Superstar’ and Dhanush has embraced the ‘Soup Boy’ persona (referring to lovelorn, heartbroken characters), Pradeep Ranganathan has carved out his niche as the ‘Supreme Soup Boy.’ He fearlessly takes on roles depicting truly unlikeable male characters, showcasing that even the most flawed individuals might find a path to redemption.
Certainly, this marks a departure for traditional Tamil hero archetypes. However, Dude‘s progressive themes are often only skin-deep. Pradeep embodies a ‘softboi’ who still exudes aggressive, toxic male energy, whether through a dismissive finger snap or a blatant slap. He portrays a character who, despite minimal effort, often feels entitled to applause or even a new love interest by the film’s conclusion. It’s the classic ‘slowboi’ archetype, oblivious to nuance or genuine effort.
Alternatively, the film’s shortcomings might stem from 26-year-old director Keerthiswaran’s inexperience navigating such complex narrative territory. Dude proves frustrating because, despite showing immense promise and stacking compelling conflicts and themes for more than half its duration, it ultimately buckles under the pressure in the final act. The story crumbles in its last thirty minutes, struggling to neatly resolve all its loose ends. While it’s admirable that the young director avoids having the female lead revert to a childhood romance, the narrative provides insufficient motivation for her romantic choices.
Real-life complexities like messy romances or honor killings can’t be neatly packaged. If the intention was to highlight female agency, the film could have explored more unconventional choices, perhaps having her raise a child with one partner before finding love with another. Instead, the narrative leans into patriarchal tropes, where an unplanned pregnancy dictates her ultimate partner choice. This romantic comedy desperately needed a genuine female perspective, but it largely remains rooted in Dude‘s inherently flawed male viewpoint.
Thamma: A Missed Opportunity
Ayushmann Khurrana, known for his roles as the vulnerable ‘softboi,’ takes on a new challenge in Maddock’s Thamma. This film attempts to broaden the Stree franchise by introducing vampires. Here, Khurrana’s vegetarian softboi character is bitten, resurrected by love, and transformed into a post-human ‘Betal’ (a mythical vampire-like creature).
Disappointingly, Rashmika’s powerful superheroine character, Tadaka, is inexplicably demoted to a mere supporting girlfriend role in the film’s latter half. The filmmakers, who previously embraced feminist themes in Stree, regress to an uninspired ‘Chosen One’ narrative. The male lead displays no compelling qualities that would justify his transformation into a superhero.
The script’s detail is as sparse as Varun Dhawan’s wardrobe in his post-Bhediya cameos—practically non-existent and failing to adequately cover its narrative deficiencies.
Given the recent release of Lokah, a far superior film in the same genre, Thamma feels like a low-resolution imitation. It’s a film best avoided unless you’re exceptionally bored and stumble upon it on a streaming service.
Bison: The Underdog’s Journey
Dhruv Vikram delivers a standout performance in Mari Selvaraj’s Bison. He plays an underdog ‘softboi’ whose entire life is dedicated to kabaddi. He must navigate a world where violence and ‘othering’ are deeply ingrained, and where young minds are poisoned by divisive rhetoric, compelling him to find solutions without resorting to the aggression that surrounds him.
In Bison, the power of sport bridges decades-old differences and divisions. Every character, even those seemingly antagonistic, is imbued with a touch of humanity—save for the skeptical coach, who serves as a poignant metaphor for India’s struggling sports infrastructure.
It’s a powerful narrative where the older sister, portrayed by Anupama Parameswaran, asserts her agency in choosing her partner, and the protagonist’s sister fiercely champions her brother, all set against a backdrop of men engaged in literal and metaphorical battles.
Ultimately, Bison is a film that successfully makes us champion its ‘softboi’ hero.
From the trendiest series to forgotten classics, and from hidden gems to guilty pleasures, ‘FOMO Fix’ serves as your bi-weekly guide through the vast and often overwhelming landscape of entertainment content.