The problem is that this larger story is too feeble. Politics and power are swapped easily. Elections and electoral promises are flung into and out of the narrative as lazy asides, to push the film forward. You can sense this forceful pushing. The evil of the story, pooled into Chinna Nambi, is unstable and shallow. Often villains are produced from a moment of humiliation. As the film sediments, it builds this humiliation, slowly, but not strongly. Here, Suri and Dharani are seen as the people instigating his humiliation, and so, his evil. Post-interval, it completely discards this, turning Chinna Nambi’s acid into something totally different and toothless, involving women and his unbridled lust. Women are the casualties of this story, but also this storytelling.