CBFC Rating – U
Runtime – 2 hours 15 minutes
Cast: Silambarasan/STR, Manjima Mohan, Baba Sehgal, Sathish Krishnan
Direction: Gautham Vasudev Menon
Cinematography: Dan McArthur, Dani Raymond Joseph
Music: AR Rahman
Script Supervisor: Deepak Venkateshan
Production: Ondraaga Entertainment, Photon Kathaas
Distributor: Ayngaran , Photon Kathaas
Lyrics: Bharathidasan Kanakasabai, Madhan Karky, Sri Raskol, Thamarai, Vignesh Shivan
Art: Rajeevan Nambiar
Choreography: Sathish Krishnan
A qualified youngster, yet to land on a job, falls for his sister’s friend, sets out on a travel with his love that pummels him into troubles too hard for a common man to overcome.
I’m ready to wait for another decade to a Silambarasan film of this stature and binding with my mind. It is personally a very satisfying and the most fulfilling STR film ever.
As the actor himself stated in his open letter on the eve of the release, this director has brought out the good-old Simbu back on screen, to excel on a charismatic act mixed with shades of bravery. One hopes for him to steady his career that might still get back to a space he truly belongs in the industry.
The actual build up to the movie, for me, didn’t start as early from VTV connect, didn’t start late from Raasali, but somewhere in between and the now forgotten lovely feel-good teaser in 2015.
Manjima Mohan could be the dream girl of lover boys, the lady is another woman from a GVM film one can fall in love with. Perhaps not the best of the female lead characters we’ve seen in his films, effective indeed.
Sathish scores every time he gets to speak, and the humor in the second part could go unnoticed in the heat of things. Baba Sehgal as the cop and antagonist is also effective and no other character has enough screen space and it’s surprising to see how can this man could chisel out a film of this kind with only three-four prime characters.
AR Rahman – Mesmerizing in first hour; astounding in the second. An hour just whizzes past with the leads holding attention. All five songs are used inside the earlier part of the film that doesn’t simply have the space to fly into dream duets later on. The score allows the scenes and characters to express and doesn’t try to dominate nor hog the limelight, yet creates this impression of being good on the ears.
Showkali could be trimmed a little.
Just at a time one can really feel the romance brimming between the two and the movie has already created a fair bit of impact inside yourself, the chirp signals the arrival of the chartbuster, ‘Rasaali’.
‘All right, I’m ready, bring it on,’ one says to himself. This is what we’ve waited for and it doesn’t let down our expectations one bit. Might even guarantee a few repeat audience for the way it has been filmed. Vijay Yesudas lays finishing touches to let the love balloon fly higher in Avalum Naanum with the lyrics penned by Thamarai.
Direction and crew
What began as an ultra cool romance brewing in the colorful household of the lead, with his sister’s friend, soon transpires to be a riveting thriller, that might rank in amongst the best Tamil cinema has ever seen. Dialogues play a mighty part in re-creating the magic of love, yet again.
There a director’s note reading that the movie is inspired by a part in Hollywood’s classic, The Godfather (1972).
I’m a great admirer of GVM like a lot of people, but I’ve always believed his films could do better at the box office with slightly better connect with the masses, and with minimal compromises. And he gives them a shot that is expected to do well across all centers.
And there’s a complaint that his films are slow to attract the masses. But when one goes into the narration, the conversation between lead pair on their life and the way Simbu narrates his love to his friends didn’t appear to be slow at any point despite being a rehash of the director’s previous films.
As mentioned earlier, three songs run almost back-to-back and inside the gap of 20-30 minutes and unlike the regular complaint of songs denting the screenplay, this makes us relish the time. To be honest, it all appeared to be travelling quicker for me. “Slow down, sire, we are not at your level yet.”
The question arises: Are we in for a musical? But there are only 5 tracks on the album and we’re through each of them half way through the storytelling. How twisted the scenes are going to get? The question rolls out in the mind.
The boy-girl friendship that eventually ends up on a romantic note, when looked plainly, is nothing more than a century old storyline, but how well is this tailored with finely crafted screenplay.
The frames used miraculously establishes a bonding with the viewer that allows us to see the characters in the director’s vision. Good films do that, they linger on the minds after exiting the screens for hours, establishing an imaginary bonding with the director, allowing the audience to experience the sequences as if they’re happening right in front of your eyes and not on screen. You can visibly feel what made GVM go for Dan McArthur and Dani Raymond Joseph to handle the camera. Anthony’s contribution as an editor is terribly good and might very well go unnoticed amidst other geniuses at work.
It is said that screenwriter Deepak Venkateshan has been consulted in scripting process (*to confirm).
You, GVM, words are not enough. Clever piece of writing and marvelous portrayal doing justice to the film.
There’s a cheeky little mock on the censor board (and the people who might complain that the second genre spoiled the film as it has happened earlier) at the strike of interval. This is beyond doubt the best film with Silambarasan AKA STR in the lead. Masterclass screenwriting and picturization keep one hooked up till the interval, till the climax and until the dawn of the doom’s day.
Double thumbs up; buy a ticket, we guarantee you’ll not be disappointed.