Suzhal Season 2 Review: A Disjointed Vortex of Missed Potential

The second season is a weak attempt to recreate previous grandeur due to an overly extended plot and underdeveloped characters.

The idea that a Tamil streaming series might generate as much post-release hype as a popular theatrical picture was dismissed by commentators prior to 2022’s Suzhal: The Vortex. The filmmakers Pushkar and Gayatri are credited with introducing Tamil long-format storytelling to Prime Video and for the bravery of the streaming service in investing in original Tamil shows like Vadhandhi.

The Vortex S2: A Shallow Echo of Its Groundbreaking First Season

Inspector Rishi and the Village were clearly motivated by Suzhal’s accomplishments. The intriguing whodunit, which skillfully combined local culture, faith, and mythology with a clever crime investigation plot, was unquestionably a hit in the Tamil market;

For celebs who were apprehensive to stream, it was also a show-cause (Aishwarya Rajesh led the way magnificently). We now have a follow-up, three years later. It appears to be a worthy encore from a distance, but as each episode goes on, the second season regrettably becomes a weak attempt to recreate previous success.

Suzhal S2 Fails to Spin Magic: A Locked-Room Mystery Lost in Mediocrity

First of all, they should be commended for the setup’s potential. Characters, both known and new, make you sit up just by their introductions.

We start with Nandhini (Aishwarya), who is currently incarcerated for the crime she committed in the first season, in order to carry on the story from that season and save time by focusing the plot around well-known characters. 

Nandhini is receiving outside assistance from SI Chakravarthy, also known as Sakkarai (Kathir), who is being investigated in connection with her case. The case has swung in favor of Nandhini and Sakkarai thanks to Chellappa (the always amazing Lal), a do-gooder lawyer and father figure to Sakkarai.

From Grandeur to Generic: Suzhal Season 2’s Downfall Explained

Tension increases when Sakkarai discovers Chellappa dead in his private house, and a public dispute over a contract quickly reveals who is in jeopardy.

To a presumptive eye, it would appear to be suicide. The catch? All of the windows and doors are closed from the inside, and the murder weapon is gone, making it a locked-room mystery.

The culprit in the first episode is revealed to be an unnamed woman (Gouri Kishan), who was discovered concealed in a closet in the room where the gun was gone. When Sakkarai discovers that the closet in which she was discovered was closed from the outside, things become complex once more.

This puts into motion an eight-episode inquiry, thickened with more suspects coming forward with admissions. The motive behind the murder is one thing, but it’s the modus operandi that we can’t wait to learn.

Suzhal: The Vortex S2 Review – A Coastal Mystery Without the Tide

Bramma’s opening episode effectively establishes the mood and brings back memories of the first season’s distinctive storytelling style.

The numerous interpersonal relationships between the main players are established in the second episode, which also gives us a sneak peek at the immediate suspects we can question. After the third episode, problems start to accumulate.

Tamil crime thriller

The largest flaw is that, during the second season, we are spoon-fed the fundamental ideas that new franchise entries should be based on.

It must: a) tell a small-town inquiry story with subversions; b) set the scene for a deeply ingrained religious celebration, making connections to local folklore; and c) present a message that opposes a particular social evil.

Prime Video original

If the first season of Suzhal had been reduced to its most basic elements, it would have mostly functioned within these wide parameters, but the sequel feels like it was forced into this framework.

Do you recall how engrossed you were in the first season whenever the narrative led you through Sambaloor’s congested streets? The second season, which is set in Kaalipattanam, falls short of creating a fitting mood.

The series could have become a Broadchurch if it had found a way to convey the feeling of living in a tight-knit coastal community, but even the seaside backdrop, which is emphasized throughout, feels generic. 

The prison, the police station, and Chellappa’s home are the other locales in the series that don’t catch the eye.

The story takes place right before thousands of pilgrims are expected to go to Kaalipattanam in order to take part in the Ashtakaali festival, where men and women dress up as various Ashtakaali folk figures. 

According to the tradition, eight Kaalis had to band together and fight to overthrow a terrible Arakkan. Although the follow-up tries to draw connections between the story and local legend, it isn’t as smooth as the first season.

The festival’s most notable scene occurs near the end of the second episode, when further suspects in Chellappa’s murder are introduced.

On paper, the scene, which cuts in with the Ashtakaalis’ parade during the festival, seems captivating, albeit a little overbearing.

However, you question whether this could have been done somewhere else, perhaps at a later, more impactful unveiling.

The murder’s bigger storyline falls flat as well. The case puts Sakkarai and Moorthy (Saravanan), the local inspector who makes every scene matter, in a difficult situation where they must follow up on any leads that come their way.

However, the investigation is far from captivating, even when they receive their fair number of leads. When Sakkarai finds out that the suspects will be placed in the prison, that is the single instance of his astute police work that we witness.

He puts them in the same prison as Nandhini by using his status, and she is given the responsibility of gathering intelligence.

Again, there is promise in her approach and the writing of the prison scenes, but they quickly become incredibly frigid.

You have a grievance over Nandhini’s limited role up until the final two episodes.

She is used as a puppet, providing clear intelligence and then for a reveal that we can see coming from a distance, even though you would think the writers would delve deeply into the guilt she is suffering from. The murder victim is the subject of a two-episode segment that is specifically constructed with a predictable conclusion.

Review of Suzhal’s second season of The Vortex: A whirlwind of mediocrity

Review of Suzhal’s second season of The Vortex: A whirlwind of mediocrity

Review of Suzhal’s second season of The Vortex: A whirlwind of mediocrity

Review of Suzhal’s second season of The Vortex: A whirlwind of mediocrity

Review of Suzhal’s second season of The Vortex: A whirlwind of mediocrity

Review of Suzhal’s second season of The Vortex: A whirlwind of mediocrity

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