Trigger warning: Child abuse, violence.
Director Prabhu Solomon is quick to set the tone for Sembi and set the expectations right with the introductory scene of the film. Visuals of a bus tumbling and falling downhill is accompanied by a dramatic background score, which is then followed by a narration where the bus is personified and introduces itself as ‘Anbu’ (love). The makers of Sembi badly want viewers to understand that the bus is a character in the film, and that it is a metaphor about life. So much so that when a goon is sent to follow the people in the bus later in the film and when it slides downhill, he dubs the line: “Aiya Anba palathula thaliyachu” (I have pushed love), which comes across as out of place.
If you are a fan of subtle and realistic films, you might find it difficult to like Sembi. Nevertheless, Prabhu Solomon hits a nerve with this story of Veerathaayi (Sarala), an elderly woman who harvests honey and makes a livelihood by selling forest-based produce, and her 10-year-old granddaughter Sembi (Nila), who live on a hilltop in Kodaikanal. They live a quiet life until her granddaughter is sexually assaulted by three men, one of whom is the opposition leader Ezhil Vendan’s son. The rest of the story tracks Veerathaayi’s fight for justice.
Kovai Sarala, who has been a household name for her comical performances in several films including Sathi Leelavathi, is cast against type in Sembi and once again proves her mettle as an actor. It is truly noteworthy that it is not comedienne Sarala, but Veerathaayi that we see on screen. Sarala featuring in an important fight sequence is also a welcome departure from films that have historically reserved stunt scenes for the lead male actors. My only quibble would be that she is needlessly given a generous coat of brown face.
The child actor Nila too shines in her role. The director’s ability to draw out powerful performances from the cast also turns into the film’s shortcoming, with many scenes becoming too melancholy-inducing. These sequences may have worked better if the makers had taken the intensity of the characters down a notch.
The question of whether commercial women-centric films with social messaging facilitate better representation for women on the big screen has often split communities of film critics and directors. Nevertheless, one cannot ignore the potential impact of discussing themes like child sexual abuse (CSA) on the big screen. This is further substantiated by real-life examples such as the case in Tamil Nadu, where a nine-year-old survivor of CSA had confided in her mother and shared details about the abuser after watching Jyotika’s 2020 legal drama Ponmagal Vandhal. Prabhu has managed to craft several scenes that drive home the message. Sembi also includes a detailed monologue about the Protection of Children from Sexual Offences (POCSO) Act, which is commendable.
That said, like almost every other Tamil film, the makers of Sembi picturise the graphic sexual violence in detail. Gory visuals of the survivor covered in a pool of blood and blood soaked gloves, dehumanises the survivor. Besides, movies released in recent times such as She Said (2022, English) have proven how sexual violence need not be filmed for audiences to register its impact. Another scene featuring a conversation between the antagonists, which the makers might have retained to make audiences take note of the abject horror they represent, also ends up desensitising viewers towards the seriousness of the crime.
Later in the film, when Veerathayi and Sembi are on a bus, a nameless ‘hero’ played by Ashwin helps the duo overcome hurdles. An observant advocate, the saviour played by Ashwin is neither the outlandish ‘hero’ who rises to the occasion and saves everyone, nor is he an understatedly compassionate stranger. Ashwin, who tries really hard to be charming on screen, also has much more screen time than required. From Sarala, the spotlight unfortunately turns on Ashwin’s character, who then anchors the plot forward.
The other people in the bus, including the character played by Thambi Ramiah, are slotted under the duality of ‘good’ and ‘bad’, thus making them superficial. The muddled writing is also apparent in some scenes where the director attempts to bring out the imbalance of power between the characters on screen.
The makers also fail to take into cognisance the apparent caste and class divide that enables the perpetrators. Prabhu’s previous films have also focused on forest dwelling and tribal communities. It is worth exploring whether his films are truly representative of their social positioning, ground realities, and ordeals. Makers of Sembi briefly focus on how sexual abuse is politicised and how it hardly benefits the survivors. The attempt falls flat because the makers do so without pointing fingers at anyone, and the seemingly ‘apolitical’ stance does not help.
Nonetheless, director Prabhu manages to create truly heartwarming scenes including a fun fight sequence in the bus, the visuals interspersed with the melodious track ‘Aathi En Mela’ (set to tune by Nivas K Prasanna), and an elderly woman cooking extra food for protesting students seeking justice for Sembi, are all likely to strike an emotional chord and leave viewers with a smile on their faces.
‘Sembi’ is currently running in theatres.
Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the film’s producers or any other members of its cast and crew.