Single Shankarum Smartphone Simranum Movie Review: A middling film that needed better upgrades

Have you ever wanted to see Iron Man and Agila Ulaga Superstar Shiva being involved in a fistfight? Your answer to this question will determine your interest in Single Shankarum Smartphone Simranum (SSSS), which begins with the no-nonsense disclaimer, “Don’t look for logic in this film.” Of course, when a rather simplified and extremely watered-down version of Spike Jonze’s seminal Her is unfolding on screen, why bother with unnecessary concepts like logic or intent? It is a film that completely relies on Shiva’s wry humour to salvage even the most inane of lines, and as food delivery executive Shankar, he delivers his best. While SSSS is one of Shiva’s better outings in recent times, it doesn’t do justice to his strengths. Director Vignesh Sha makes an extended version of his own short film, Iphone Siriyum Aynavaram Raviyum, but unlike Love Today, a successful short film-to-feature film upgrade, SSSS is a middling translation.

Cast: Shiva, Megha Akash, Mano, Anju Kurian

Director: Vignesh Sha

Just like Her, here too, Shankar forms a bond of sorts with the AI in his mobile phone. Wanting to step away from Her comparisons, the makers have roped in the angle of a ‘single’ scientist (Sha Ra) wanting to build an AI that will serve as his companion. This robs the film of its nuances and places itself right in the territory of absurd comedy, and it actually works well for SSSS. An effective Megha Akash plays Simran, the AI, who has a thought process of her own and can develop feelings for things, people, and the like. It is an interesting aspect that we saw being dealt with in Indian films too like our very own Enthiran, and here too, we have the jealousy and possessiveness angle. However, once again, the makers of SSSS are clear about mounting the film as a comedy and nothing else. As long as the jokes come in, through actors like KPY Bala, Ma ka pa Anandh, and of course, Shiva too, SSSS works more than it doesn’t. However, the film flatters to deceive as the strain of turning the wafer-thin plot into a feature-length film starts to show.

In fact, it is these embellishments that bring down the engagement factor of SSSS. The film starts out rather strongly delivering one hit after another. Be it a hilarious ‘father-zoning’ or Shankar espousing the importance of dignity of labour, and his equation with his single father (a competent Mano, who tries a bit too hard), SSSS hits familiar but effective beats. Making a sci-fi film a madcap comedy of errors a la Sundar C style is a fascinating concept that would have read terrific on paper. But the way these multiple threads are roped into the central narrative leaves a lot to be desired. The romance angle between Shankar and fellow social media influencer Tulsi (Anju Kurian) starts off on shaky grounds, and develops into something of promise, before ultimately fizzling out. The same holds good for Mano’s ‘paakaadha kaadhal’ with a bank customer. There are a lot of grey areas when it comes to romance in the film, and not everything can be brushed aside in the name of comedy. But it is also imperative to understand that the film doesn’t take itself too seriously, and it helps that a solid Shiva is in the centre of things and he makes sure even when the film slips into problematic territories, his charm and comic sense saves the show.

While we understand Simran’s power in making Shankar into an overnight sensation, it doesn’t effectively come across on screen as such a big move. There are a lot of loopholes that point to gaps in writing and not cinematic liberties. SSSS had the potential to be a modern-day version of Aladdin and the Genie with the latter getting miffed about the pauper-turned-prince and deciding to push him back to penury. However, even though this is the arc that SSSS takes, it is not remotely effective. Why have archaic plot points when dealing with such futuristic themes?

After dealing with multiple themes with surprising maturity, the last act becomes too childish. When entire plot points are rushed to come together in the final act, there is an overwhelming sense of disappointment. Anyway, walking away from SSSS, after the final act where Simran takes over electronic devices in a seminar hall and makes a dinosaur come to life, I couldn’t help but chuckle about the fact that a jeans-wearing ‘single’ scientist was named Maadhesh.