It is a pity that, even after almost a decade of OTT in the Tamil media space, many makers are still finding themselves writing a film, converting it into what they think is the web series format, and end up giving something that is neither here nor there. ZEE5’s latest, Sattamum Needhiyum, is the next to join this unfortunate list. 

The series starts with a man self-immolating himself inside the Court premises, which kicks off a chain of events involving a conspiracy, a kidnapping, a broken marriage, an unsupportive family, a feisty young lawyer, and a wizened lawyer who has resigned to a life of limited returns. Sundaramoorthy (Saravanan) is a Notary Public, who is happy staying on the sidelines of the court. He is the laughing stock among his peers and even his family members, especially his son, who disregards him and his profession. And yet, for some reason, an upcoming lawyer, Aruna (Namritha), decides to assist Sundaramoorthy and even defend him. 

We are asked to believe that Sundaramoorthy is a lawyer par excellence. Soon enough, Sundaramoorthy finds himself filing a PIL to take up the case of Kuppusamy, the man who immolated himself. And why is he doing it? You might think it is to ensure the law is common for everyone. But it is mainly because Sundaramoorthy’s son decides not to take up law because of the kind of lawyer his father his. So, the reason is personal. But just as any legal drama worth its salt, the reason becomes much bigger than Sundaramoorthy and Aruna. 

Director: Balaji Selvaraj 

Showrunner: Sooriyaprathap S

Cast: Saravanan, Namritha, Aroul D Shankar, Shanmugham

Streamer: ZEE5

However, before we reach there and get to the preachy side of things, we have to endure an investigation mounted by Sundaramoorthy that is flimsy to a fault. For instance, the two lawyers follow the trail already made by Kuppusamy, who is searching for his kidnapped daughter. This takes the lawyers on an investigation that spans a couple of decades. Nevertheless, as they trace his steps and reach the same people he spoke to hardly a week back, they say, “Someone came and asked all of this just last week.” And both of them are surprised by this response, and ask, “Who came?” Really? REALLY? 

After a point, it is not just the conveniences that are irritating, but the insult to our collective intelligence. Did the makers think we would be okay with long-winded monologues that come out of nowhere and barely register an impact? It is almost like a string of scenes that do nothing, go nowhere, and say very, very little. Also, there is composer Vibin Baskar who vehemently drives home what we should feel, even if we don’t feel much for the characters or even the series. And why is Aruna written so flippantly, and is just loud, for the most part? Oh, throw in a few other characters who say the most inane dialogues and deliver them with complete disdain for the art of acting. And yet, the series chugs on without a stop, and we continue the ride because we have come too far to go back. 

But the series isn’t without its share of highlights. There is one scene where Saravanan leaves us in splits, which comes out of nowhere, and is supremely effective. Then, in the course of the investigation, there is a killer dialogue about fathers uttered by a sex worker. And finally, when the series reveals the reason why Sundaramoorthy prefers staying out of court, it is a refreshing turn of events. It is simple but effective, and it is all the more disappointing that this nuance and depth go missing in Sattamum Needhiyum, which barely scratches the surface of his psyche.

For any legal drama to be effective, it needs that flourish at the end that would make everything else seem forgivable. But Sattamum Needhiyum doesn’t even get that reprieve, and one can’t help but think if Sundaramoorthy, Aruna, Kuppusamy, and in many ways, we, deserved a better day in the court.