Director Ponram's latest Tamil film, Kombuseevi, released in theatres on 19 December 2025, is a cinematic endeavour that highlights a pressing socio-political issue but ultimately gets lost in its own tonal inconsistencies. The movie, featuring Sarath Kumar and Shanmuga Pandian in lead roles, attempts to blend hard-hitting reality with commercial comedy, a gamble that yields mixed results.
An Ambitious Premise Undermined by Execution
Inspired by real events, Kombuseevi delves into the lives of residents from 12 villages who were displaced due to a government dam project. This core subject of loss and survival is potent material for a compelling drama. The narrative follows Rokkapuli (Sarath Kumar), a local figure who helps his people by any means necessary, and his protege Pandi (Shanmuga Pandian). Their desperate schemes to achieve financial stability stem from years of collective pain and a dire need for sustenance.
Ponram has previously succeeded in balancing humour with serious themes, as seen in Varuthapadatha Valibar Sangam. However, in Kombuseevi, this balance falters. The central tragedy of displacement often feels sidelined, buried under a relentless barrage of over-the-top jokes and silly situations. This creates a confusing experience for the audience, who are left unsure whether to engage with the social commentary or simply enjoy the comedy.
Glimpses of Potential Amidst the Chaos
Despite its flaws, the film is not without merit. Ponram's writing shines in the characterisation of the protagonists. Rokkapuli is not a one-dimensional hero; he operates in a moral grey area but adheres to a strict personal code, such as abandoning profitable plans if they don't receive the blessing of the guardian deity. Such nuances add depth to an otherwise chaotic plot.
There are fleeting moments where the film's true potential surfaces. One standout scene involves villagers approaching Rokkapuli for financial help, only for him to realise his own helplessness and empty pockets. This sequence, raw and emotional, effectively conveys the despair of the displaced community. It is in these rare instances that the audience can connect with the characters' motives and root for their outlandish plans in the second half, where the comedy and crime elements somewhat converge.
The humour, when it works, delivers genuine entertainment. Absurd set-pieces, like hiring a fake rain specialist to evade the police, showcase the film's intended madcap energy. The performances, particularly by Sarath Kumar, anchor the film with a sense of sincerity that matches the director's honest intentions.
The Final Verdict: A Missed Opportunity
With a runtime of 2 hours and 2 minutes, Kombuseevi ends up being a film at war with itself. It wants to be both a lighthearted comedy and a serious commentary on a grave issue, but fails to marry the two effectively. The tonal inconsistency becomes its biggest drawback, leaving the social message feeling diluted and treated with an unsettling casualness.
For viewers seeking pure, mindless comedy, Kombuseevi might offer some laughs. However, for those expecting a poignant exploration of displacement and survival, the film feels unsure and unfulfilled. It stands as a testament to the fact that good intentions and a relevant subject need a clear, focused vision to translate into a powerful cinematic outcome. The film currently holds a 2.0 rating from both critics and users on The Times of India, reflecting its divisive and confused reception.
