Blockbuster Review: Viswaroopam (Tamil Film) – Gallant Gusto!

To begin with, let’s get the dialogue right.

Q: Was it worth the hoopla?
A: No. Pertinence of few hopelessly wounded individuals lay squashed beneath.

Q: Did it have enough to be termed as the ‘Blockbuster’?
A: To a large extent, yes. Except the narration (in the second half) that could have been crispier and the climax that should have been a raunchy affair, rest was quoted brilliance.

Now, for the review that I remain famished to gorge.

It’s a brilliant film that could been better by few notches. After all the misguided propaganda that the film garnered with ease, it revelled under the apt sun. And, our undisputed and quite phenomenally, Kamal Haasan is back. His screenplay, as always, was rhetoric in content and phased narration was nicely embedded. The script is borrowed intelligently from various incident prone subjugations and has his impeccable zeal to make it real. Directed well within his vision, Viswaroopam’s decorated closet includes Rahul Bose, Jaideep Ahlawat and Shekar Kapur (a cameo though). All give commendable performances, when we account for their presence in a frame that’s smeared with the mighty Kamal Haasan. The ladies have nothing to do in this game of havoc, Andrea was probably adamant to get herself wasted. Nasser’s is a bold act and he enacts perfectly.

The introduction of the real protagonist was a stunner and I went gaga over it (everytime). And remember, only Kamal Haasan can pull it off in a fit of ruthless debonair. The first half is splendid and takes you through the vintage problems of planet earth with consummate ease. The duels in Afghanistan are a visual spectacle and you are bound to get goosebumps. As the animated choreographer, he is adorable. His encounters with Rahul Bose infringe sparks in mellowed sequences and Jaideep as his closest aid is impressive. Significantly, both have spoken and dubbed in Tamil. It looks refreshingly odd and fits the need of the bill.

The final 15-20 minutes took me by surprise, disappointingly. After a scorcher of a first half, I expected a powerhouse climax. Unfortunately, Kamal probably kept too much of it in wraps in lieu of his sequel (that’s predictably in pre production). I get the noble thrill but eluded me of my insatiable proportions. Yet, Viswaroopam held sway in an emphatic fashion.

With contemporary liaisons dominating our surrounding lives amidst a pickle-like frontier of decaying charm, Viswaroopam enthrals adequately.

Mayakkam Enna (Tamil Film): Gutsy and Glorious Few!

If human relationships could be bracketed under mystic wraps, then I would be the most prominent protagonist to breathe life with pretentious fame.

‘Mayakkam Enna’ is one such tantalising epic that miscodes and quotes life in phonetic modes. A great ‘hounds and fur’ portrayal of versatile characters in situations of despicable abyss, ME enthrals most of it with flaws of pardonable stature.

Once again, the foundations of a film has been rested on the most curative and blissful relationship known to man: friendship. A spurious gang with a heart of gold, the best friend with an inexplicably beautiful date and the primitive ‘genius’ who gets the better of the both to marry his best pal’s so called girlfriend: the plot and the sequences have been put in place with casual importance. Struggles and veracity are parallels to this bunch of youngsters who fall and blossom with the timeless vein.

The screenplay has been the lynchpin of this Selvaraghavan courage and I was surprised (quiet honestly) to see the maturity in the script. Performances have been top notch and are praiseworthy. Seldom in the elite annals of Tamil cinema has a woman been showcased to be the epitome of man’s evolution (even though the current crop of generation has been able to come to terms with this lost but chrome reality) with such powerful grace. The 8 minute magic were Yamini is requested to embrace infidelity by one of their best buddies owing to Karthik’s pitiable state and her stunning response to his lustful penchant was pure aesthetics from a woman who was very much in love with her husband. It remains to be one of the finest moments crafted in Tamil cinema and I remain loathed till it flows away.

Dhanush delivers a sedate and impressive performance, once again. Here is one actor who is coming of age, never mind if it’s touch unorthodox and lacks pomp. Richa Gangopadhyay’s histrionics are a testimony to Selvaraghavan’s stint with a filmmaker’s pantheon. The supporting cast doesn’t go over board and Karthik-Yamini roll it over with calculated restraint.

I have always penned Selvaraghavan’s works with disdain. With ‘Mayakkam Enna’, he is realising his doses well and is an improved talented version of what he was with his earlier mishaps. An inspiring film with the right ingredients, I look forward to his future assignments with unpredictable glee.