A common individual who finds himself in an unusual predicament. Run Baby Run, directed by Jiyen Krishnakumar and starring RJ Balaji, brilliantly extends this one-line in the first half.
After buying a present for his fiancée, Sathya (played by Balaji), an upper-middle class bank employee, goes back to his car and discovers a woman hidden beneath the back seat. That incident, that day, and that woman completely changed his life. After some while, he realizes that she is in difficulty but is unwilling to assist.
He's not a hero; he's simply a man trying to live a regular life. He is a man with a conscience, though. He hesitantly agrees to assist when the mystery woman warns him that she could be killed if he doesn't provide refuge. Although he continues to be extremely anxious, he also doesn't want any blood on his hands. Sathya becomes an instantly relatable protagonist as a result of all of this.
The movie's writer and director, Jiyen, is adept in drawing us to the edge of our seats. With the aid of Sam CS's menacing soundtrack and S Yuva's understated, black photography, he establishes a gloomy atmosphere. More pictures than words are used in the writing. Some of the pictures have a spooky feel to them, like the finger of a deceased lady sticking out of a luggage bag. Moreover, the writing is clear. Jiyen resists the urge to offer Balaji a one-liner, which would have destroyed the film's tone.
However, the screenplay and the directing cover over his first-half performance's flaws. The protagonist, who has unwittingly contributed to the deaths of two people, is threatened by an anonymous, seemingly strong enemy. This is a fantastic premise.
But in the second half, the movie starts to deteriorate. Things become faster and more verbose, but less interesting. The initially likeable protagonist develops into a hero who fights for a greater cause and engages in genuine action (the action scene feels needless, though). He is no longer rushing to rescue himself; instead, he is running to apprehend the criminals. The protagonist becoming a hero is nice, but the underlying problem is that this transformation arc lacks credibility. There is no tension in the investigative sequences. Finally, the major revelation goes out like a somewhat wet firecracker.
We would have received a lot better movie if the script had been consistent in the second half, if Aishwarya Rajesh's character had been developed a bit more, and if there had been a strong opponent. These "if onlys" are all that are left in the end.
That's All Folks,Gratitude For Reading………
With Love,
