Sri Rajakali Amman Films banner
 Mohan Natarajan
 Srikanth Deva
 Asin, Manorama, Vivek

Aalwar - Cool for fans

   How a young man takes revenge on those who destroyed his family, is the story of the film. Director S Chella has included a bit of spirituality and god's avatars in the film.

Ajith is a ward boy in a hospital. Now and then, he dresses up like Rama or Krishna and kills the evil people. The reason for this is shown in a lengthy flashback.

Ajith's role is that of a stealthy cat that pounces like a lion. When he appears as the agraharam simpleton, his acting is simple without being overbearing. The ferocity when he thrashes up the villains is missing when he appears as god's avatars. An important role is the Narasimha avatar.

Manorama is the owner of the mansion where Ajith is staying. Asin is her granddaughter. She appears whenever she's needed for a song sequence and then disappears. She has done a good job of whatever she gets to portray on screen.

There's too much noise in Srikant Deva's background score. Even the telephone ring is like a bomb being dropped. The songs “mayile mayile iragu podu” and “sollitharavaa” are passable. The graphics used for the song sequences are a bit of overkill.

That the camera work also reflects on the director's prowess is illustrated by Ramesh G's work in the film. There's nothing new in the lighting or camera angles, but he has shown his skill in the scene where Ajith is chased by the police.

Dialogues are by Ravi Maria. The characters are always telling someone what they did, why, what they are thinking and so on, so the audience keeps getting an overdose of information. When will they ever learn that cinema is a visual medium?

   It's a bit tiresome to see many scenes shot at the same place. For instance, the place where Ajith stacks up the dead bodies, where he talks to Kirti Chawla, where he slaps the ward man for asking money, all take place in the same hospital corridor. All the scenes between Asin and Vivek take place inside the mansion.

Many things go beyond logic in the film. Ajith paints his face blue and kills a person in this vesham in broad daylight. After bashing up the villain's henchmen, he goes after main villain Lal but miraculously turns into Narasimha avatar. Does he take his makeup kit along?

When he's finishing off the villain in his apartment, the ensuing noise stuns Kirti Chawla who is sitting in her car on the street. How come no one else in the apartment block hears anything?

The villain's men roll in money but do not hesitate to kill. The same guys plot to kidnap the Prime Minister to loot 10 pots of arrack and also tremble at the thought of the police…so unbelievable.

In one scene, Ajith and Asin set out shopping, but her costume changes once she gets out into the street. There are many such instances where it's illogical and continuity goes for a toss.

Ajith believes that he's god incarnate and vanquishes the bad guys with superhuman strength. It's not that spiritual as much as it's a downslide in the screenplay. Chella could have paid more attention to making the story and screenplay more compact and credible.


                                                                                                         Review by Cinesouth


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