Siddhu Jonnalagadda in ‘Jack’
| Photo Credit: Special Arrangement

In the Telugu film Jack, written and directed by Bhaskar of Bommarillu fame, there is a recurring reference to how the protagonist, Jack, aka Pablo Neruda (played by Siddhu Jonnalagadda), was rejected by 24 coaches in his childhood for being an overenthusiastic child who lacked the discipline to train in any sport or art form. Perhaps the number 24 is a nod to the 24 crafts of cinema — we will never know. The story follows this misfit, who, with an uncanny sense of humour, positions himself as a self-appointed agent operating parallel to RAW (Research and Analysis Wing), determined to foil a terror plot. If the premise sounds unconvincing, the narrative unfolds in a way that makes it even harder to buy into.

The title Jack, a metaphor for ‘jack of all trades’, leans heavily on its lead actor’s charisma and comic timing to sell an erratic character. Siddhu shoulders the film, delivering one-liners with flair and embodying both the angst and ambition of his role. But it is in vain, as the script remains flawed.

Jack is no Tillu. Here, the stakes are higher. He steps into a space where one wrong move could threaten national security. After attending a RAW interview, Jack begins operating independently. A montage suggests he has keen observational skills and a knack for picking up tricks from small-time criminals. The idea of an untrained individual taking matters into his own hands lingers throughout the narrative.

This is eventually addressed in a conversation between Jack and RAW officer Manoj (Prakash Raj), but not before a series of far-fetched episodes unfold. Tracking terror suspects appears too easy, and the overlap between Jack, RAW agents, and the suspects lacks tension. These scenes could have built intrigue, but instead feel implausible.

The screenplay leans on coincidence. There are occasions when Jack spots suspects because he is the protagonist, not because the writing convinces us of his ability. Prakash Raj’s exasperation on screen echoes what some viewers may feel.

A romantic sub-plot involving Afshan (Vaishnavi Chaitanya) feels underdeveloped. The actress, known for a more nuanced role in Baby, is given little to work with here. The recurring ‘cat’ sound effect tied to her detective agency is more distracting than clever, and the humour in these segments does not always land well.

Later in the film, Jack reflects on his actions. A flashback involving his mother, initially melodramatic, is used to set up a moment of clarity. His exchange with Manoj adds weight, but by then, the film struggles to regain footing. The final stretch, reliant on underwhelming visual effects, doesn’t quite deliver.

The premise — an eccentric figure acting alongside official systems — had scope. But it needed tighter writing and more restraint. Jack does not quite pull it off.