Sembi Movie Review: Invested performances save this tried and tested story

Prabu Solomon is a filmmaker who has a solid signature for himself, and by now, we all know the list of things to expect in his films. His latest, Sembi, features scenic hilltop locations, a duo on the run from the police, a bus full of people with contrasting lives and the most constant one on the list: Thambi Ramaiah. Probably, composer D Imman is the only Prabu Solomon regular who misses the bus. Sticking to such constants in every project is a two-way sword, they either work out big or end up being torpid rehashes. Well, the result of Sembi is a mix of both.

Kovai Sarala's Veerayi is a relentless giver who has dedicated her life to her granddaughter Sembi (a brilliant Nila), a gold-hearted 10-year-old. More or less, they carry the souls of Suruli and Mynaa, the lead characters of Prabu's breakout film Mynaa. Of course, the relationship angles are completely different here, but it is hard to not notice the similarities. However, we keep rooting for the protagonists in Sembi as their nobility never falters even in the face of crushing cruelties. 

On the flip side, we begin to lose interest whenever the film takes the tone of a talk show. I understand that the director aims to present the corrupt and herd mentality of society, which projects the victims as the perpetrators. This is brought out through the conversations that happen on the bus that Veerayi boards. But it all gets a bit too redundant soon. Considering Prabu Solomon is mounting the film as an entertainer, these conversations only come as roadblocks. For instance, there is a shocking mention of a rape survivor's grave injuries and her inability to give birth. Before we can digest the heaviness of this scene, we have Thambi Ramaiah 'comically' kicking the groin of a person, pledging to ruin his fertility.  Placing these two scenes in the same film, especially in quick succession, is in bad taste and it waters down the very message director professes.

Amidst this tonal confusion, the film does manage to talk about the POCSO act. Sembi might probably be the nth film to feature a rape survivor as one of its protagonists this year, but it stands out by focussing enough on the laws and the system.

Nila, who plays the titular role, delivers a stunning performance. She sells both innocence and pain brilliantly and I am sure she will be bagging tons of awards for her debut. Kovai Sarala leaves no stones unturned for her first full-fledged serious role. The sequence where she breaks down in the hospital out of helplessness reminds us of the powerhouse of a performer she is. I also liked Ashwin Kumar's portrayal of the nameless saviour, and the inherent charm he adds to the role.

Nivas Prasanna fills in the shoes of Prabu's regular composer Imman and he delivers a remarkable background score that almost compensates for the forgettable songs. Though I found certain re-recording portions to be extremely over the top and suggestive, Nivas manages to elevate the crucial emotional scenes.

A major portion of Sembi happens inside a bus named Anbu (Love) and after a particular point, the bus takes a detour and roams around directionlessly. The film, which professes love, also falls into the same trap and loses our attention. How I wish films that are filled with noble intentions had unwavering focus.