‘Single’ movie review: Sree Vishnu’s romcom is a bag of outdated tricks

Sree Vishnu and Ketika Sharma in ‘Single’
| Photo Credit: Special Arrangement

It is one thing to not take yourself seriously, and another to be genuinely funny. Single, a 129-minute ode to the male gaze, narrates the story of a man caught between two women. The film mistakes catchy one-liners for situational humour, leaning on capable actors to carry an obnoxious, aimless premise. A banal idea is stretched to the point of exhaustion, and in trying to be cool, it ends up being neither clever nor funny.

Directed by Caarthick Raju (of Ninu Veedani Needanu Nene and Thirudan Police fame), Single resorts to lazy writing, attempting to mask its flaws with a barrage of pop culture references, borrowed film tropes, and social media memes. Its male leads, insurance agents Vijay (Sree Vishnu) and Aravind (Vennela Kishore), are desperate for female attention — using metro rides to ogle women, hiring goons to stage rescues, and winning a girl’s sympathy.

Vijay is so besotted with Purva (Ketika Sharma) that he stalks her to her office under the pretext of a vehicle inquiry. In his bid to woo her, another woman, Harini (Ivana), falls for him. Caught between the woman he loves and the woman who loves him, the film tries its hand at confusion comedy but collapses under a screenplay that fails to build its own ideas or develop its characters with any depth.

Notably, both relationships Vijay finds himself in are rooted in deceit. When the truth emerges, chaos ensues — a classic rom-com setup. But Single never rises above the trope. It functions more as an excuse to bring together Sree Vishnu and Vennela Kishore for a few throwaway gags. Relying on lowbrow humour, the film features scenes where the duo poke fun at each other’s (unfortunate) love lives with juvenile jabs and tired jokes.

The film strings together one outdated trope after another — taking potshots at physical appearance, skin colour, and portraying women as trophies, while the men deliver condescending punchlines. It reinforces the stale stereotype that persistence always wins a woman’s heart. Initially repulsed by Vijay’s behaviour, Purva warms up to him only after he helps with her medical bills — a reductive arc that undermines emotional authenticity.

Adding to the clutter is a subplot involving their equally lecherous boss, who is in a steamy office affair. A needlessly melodramatic flashback arrives midway, supposedly to explain Vijay’s connection to Harini. Characters change stances on a whim, and the humour never evolves, leaving the leads stranded in a dull, lifeless narrative.

Sure, it’s fair to make a film aimed at a predominantly male audience, but it needs wit — not an insensitive rant dressed up as comedy. Even within its modest scope, Single had the potential to be a passable slapstick comedy. Instead, it chooses to rehash dated tricks and treats the audience with indifference. If there is anything that Single gets right, it is the ending. The women deserved better.

Sree Vishnu’s dialogue delivery and mannerisms have been getting repetitive in his last few outings, with the exception of Swag. It is time he rediscovered his range. Vennela Kishore fares better between the two, managing to make ridiculous lines — like “anduke izzat ke faluda..mannat ka masooda annaru…” — sound deceptively clever.

Both female leads, Ketika Sharma and Ivana, are given little to work with, though the latter has better screen presence. VTV Ganesh tries to wring laughs from his trademark diction and pauses, but the routine feels worn out. Rajendra Prasad’s cameo is oddly placed, bringing the film to a screeching halt.

Despite being backed by accomplished technicians such as cinematographer R Velraj, composer Vishal Chandrashekhar, and editor K L Praveen, the craft does not elevate the final product. As comedian Satya quips to Vijay in the climax, “mee love story vintuntene… nidrochesindi,” (your love story put me to sleep), Single is a yawn that amuses in parts.