Tuk Tuk movie review: A gentle narrative about liberation and self-redemption

The first half of Tuk Tuk largely focuses on the antics of its three impish leads (who curiously remain unnamed throughout), capturing their idle and idyllic life in a small village. They could be seen doing the usual boyish stuff—hearing minor tantrums from elder folks, trying to conjure schemes to make a quick buck, cooped up in the afternoons watching erotic movies, the works. Their routine also includes something deeply objectionable, raising a question mark on their likeability—something that comes back to haunt them in the second half, compelling them to reconsider a few things about themselves.

Any other film would have turned the moment into a giant moral science lecture; Tuk Tuk, directed by Supreeth C Krishna, underplays this element, like many others in the film–and that is both its strength and weakness.

Cast: Saanve Megghana, Harsh Roshan, Karthikeya Dev, Steven Madhu, Nihal Kodathy

Director: Supreeth C Krishna

If you pay attention to the early moments of the film, which are rather calm and gradually usher you in, chances are you will have no trouble attuning to its overall mood later on. While the trailer promised a rollicking, fun-filled ride around the lives of the three boys, Tuk Tuk never bursts with the promised energy. There are a few charmingly whimsical bits in the first half, especially the moments where the three boys earnestly go around creating a deity and a temple. (Santhu Omkar’s music too adds a lot of vigour to the proceedings). As you go deeper into the film, it goes for comedy, but not in an aggressive way, rather nudging us gently for smiles. Supreeth C Krishna takes his time in setting up the world. And even when the ball gets rolling, the film has a muted energy to it, including during its funny moments. Which is an interesting outcome, considering the unbridled vigour on display by its three leads—Harsh Roshan, Karthikeya Dev and Steven Madhu—who are fearless in their physicality. It’s their performances and, more importantly, the innocent cameraderie that keep us invested, even when the cinematic energy gets low.

At the same time, there are plenty of admirable things about how Supreeth C Krishna carves the screenplay. Once the secret of the magical autorickshaw’s past is out, the narrative takes a new direction and sticks to it. Tuk Tuk doesn’t become a movie about the three boys’ redemption—instead, we get a new protagonist, and exploration of a different set of ideas set in the same universe. The three impish protagonists are now a catalyst in someone else’s journey for closure. Also, despite its warm, frothy tonality, the film doesn’t resort to easy answers or spoonfeeding its viewers. There are few things that remain unsolved, especially about Shilpa’s first bikeride, or what happened to Navin once he lost touch with Shilpa. These decisions only add to the mystical nature of the narrative. The film also manages to keep its social commentary light yet effective, especially its take on idol worship.

It’s also impressive how the story doesn’t demand Shilpa to undergo the stereotypical humiliation arc in order to be deemed as an appropriately sympathetic figure. Even when Shilpa is being wronged, she states outright, “I won’t change myself.” Shilpa is the kind of young woman who refuses to stay sad for long, who will eventually realise the futility of succumbing to circumstances, decide to step out, and fetch her own freedom. For all its little shortcomings, the film creates a memorable character in Shilpa, and luckily finds a suitable actor for the part. Saanve Megghana lights up the screen every time she appears and lends great verve to the narrative. Tuk Tuk is a film about embracing life despite all its hostilities, and Saanve embues every frame of her presence with that gusto. 

Shilpa finds a soulmate in Navin (Nihal Kodathy), an equally optimistic young man who believes in the oneness of nature and respects her desire for self-reliance. So after a few reluctant meetings, when Shilpa finally asks Navin to hug her, the romance feels earned. It’s in these moments that Tuk Tuk is at its most alive and heartwarming. The film wears its heart on its sleeve, even when it doesn’t have the vigour or craft to express itself with full effect.