Vascodagama (Vijay Sethupathi), the son of a prosperous flower shop owner, gets into a heated argument with the unruly Muttai Ravi in Dindugal, the setting of DSP. For your information, the antagonist is known as Muttai, which is Tamil for “egg,” because his family sells eggs across the region and beyond. What occurs if the two start fighting? Because his family fears for his safety, Vascodagama has been exiled from his village and isn’t even allowed to attend the wedding of his sister. Vascodagama joins the police force in order to have his retribution, and he later makes a comeback as a DSP to find Muttai Ravi.
For the second time, Vijay Sethupathi plays a police officer, and I must say that he does a fantastic job. It’s Vijay’s sincere endeavor to be himself as always, providing us with some applaud-worthy moments. He has improved his ability to create moving scenes. The rustic belle played by Anukeerthy Vyas in this movie seems out of place. Due of her role as the conventional Ponram’s heroine, Anukreethy’s character doesn’t give much. Vemal makes a solid impression on screen during a brief cameo. A nice performance is given by Prabhakar as Muttai Ravi.
The movie’s opening acts remind one of a humorous adaptation of well-known police dramas. These passages introduce Vasco’s upbeat demeanor and his family’s existence in Dindugal, where he hangs around with his pals, looks for work, and occasionally runs across the feisty Annapoorani. The second half shifts into one of those familiar cop comedies that turns into a tale of retribution. In DSP, there is no emotional investment and everything is casually written.
We don’t get that catharsis when the hero exacts his vengeance. A corny romantic track featuring Anu Keerthy appears in the midst of all the mayhem. This relationship doesn’t exactly mesh with the plot. We keep expecting something spectacular to happen in the movie, but instead we are repeatedly bombarded with unoriginal commercial clichés. There is nothing fresh or distinctive about the cinematography, editing, or music in the movie; they all adhere to the standard commercial cinema pattern.
There is no emotional involvement in DSP. We keep expecting something spectacular to happen in the movie, but instead we are repeatedly bombarded with unoriginal commercial clichés. The film’s cinematography, editing, and soundtrack all follow the typical commercial cinema pattern; none of them are new or noteworthy.