THRILLERS AND THE PROTAGONISTS
The story progresses from one scene to another increasing the curiosity and anxiety. The protagonist character has been blended into the narrative just like any other character artist in the film. He was neither highlighted nor degraded; just the character was kept on a subtle line in which the story demands to do so. The protagonist doesn’t handle anything single-handedly like any other heroes. He is always surrounded by a team of subordinates and kills the problems with the team spirit. He is more of a leader to a group of people who is just more intelligent and ahead of any other in solving problems. The anxiety and curiosity were created just showing the upper layer in the first half and the second half is all about digging the layers and reaching the core of the problem, the antagonist. That’s how the game has been played very intelligently by the director Praveen Sattaru. The way he designed his protagonist is worth a lesson.
He used the protagonist as a medium to narrate a story with an international issue. At the same time, it looks like there is no progression of the story without the protagonist role as well protagonist cannot do anything without the next clue he needs to get. The story and the protagonist need to help each other and travel together towards the core of the problem. It’s more of a complicated screenplay to be written. Director succeeded in keeping the levels of the story and the protagonist in a subtle range. He cleverly blends the protagonist into the story and thus his role becomes like an additional cheesy layer in a burger which completes the flavor and taste.
The same happens with the Myskin’s Thuparivalan. He blends the protagonist character and used him as a medium to solve a problem in his story. He adds the protagonist’s little personal love story without disturbing the core of the film. The way he used the heroine character as the biggest planting and payoff element in the film shows Myskin’s brilliance in designing a character.
Every story has a protagonist and he needs to be highlighted. But when it comes to the thrillers like PSV Garudavega, Ghazi, Thuparivalan, Vikram Veda, Thani Oruvan etc… the protagonist needs to blend into the layers of the story and he automatically gets highlighted when the story needs him to solve the problem. The above films were a good box office successes even after giving more importance to the story than to protagonist.
The best example what happens when you give more importance to a protagonist in a thriller is Murugados’s Spyder. He separates the layer of the protagonist just highlighting with some special scenes and songs. That seems like wasting time on highlighting without getting into the conflict because; a thriller always demands an importance to the story. A thriller becomes a thriller when there comes no commerciality attached to it. But in India, we were habituated for some kind of relief in a serious story. But those relief elements can be blended into the narrative just like Thani Oruvan, Vikram Veda and Thuparivalan has subtle love stories. Here in PSV Garudavega, it’s the protagonist’s family drama which played the role of relief element in the story, probably as one of the B-story.