ENDHIRAN/ROBOT REVIEW
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By Behindwoods Visitor Shyam Sundar
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A famous philosopher once said “Euphoria can only go on for certain amount of time. Eventually reality wins out.” But Endhiran has the ability to rewrite this quote as follows: “Robot mania can only go on for certain amount of time. Eventually Robot mass hysteria wins out.” This (under)statement sounds as absurd as much as it is true and any better manifestation of this statement cannot be adumbrated in words but only experienced. If there was one movie that was anticipated on the same lines as the arrival of a new millennium or the most awaited festival, it had to be Endhiran right from the beginning of its inception because the effect of it on both the audience and the Indian film industry is going to be eternal thus deep-rooting the clichéd fact “Nothing will be the same again”. Endhiran has managed to not only meet the sky high expectations but also exceed that by a clear
Endhiran
margin that was evident when the trailer release was received with an unprecedented fanfare.

Shankar’s chronic attachment to the subject of “Corruption” has finally ended with this movie where the social message is refreshingly different but as simple as his previous ones although he has stuck to his distinctive narrative style that is replete with grandeur and hold-your-breath-or-lose-out scenes. He has deliberately let his limitless imagination take control of the proceedings that is comfortably placed on a base subject that is solid and raw for the Indian film industry. In the process, he has inadvertently opened those elusive doors for other directors to experiment and also retain the indigenous commercial elements of Indian cinema. His extraordinary attention for detail and captivating screenplay ridiculously belittles the logical defects. Shankar was ably backed by the most formidable team ranging from super stars and miss worlds to technical wizards, all supported by a magnanimous production company called Sun pictures.


The technical aspects of the film can be described in one word “Spectacular”, for Indian standards. This movie necessitated and borrowed the help from Hollywood studios for delivering stunning visual effects in the form of CGI and animatronics but the conception of its final outcome is seamlessly original. The cinematography is worth a million applauses as it not only charms the audience at scenic outdoors but it also pampers them with a multitude of colors at indoors. The art director has given a pertinent feel to every shot in a way that knows his boundaries and doesn’t refrain from being creative at the same time. The stunts and action sequences are nothing short of world-class and it only enhances the script rather than being squeezed into the story for the sake of it. Costume design and make up departments that usually take a back seat have been given equal emphasis contributing to the already magnificent setup.

If we disregard the fact that ARR’s compositions have to be listened multiple times before you get hooked to it, this soundtrack will obviously seem ordinary. “Chitti dance” song is as riveting and rocking as it can get, whereas “Arima Arima” brings the seldom experienced kingly flavor to the table. Background music is top notch for most parts of the movie. Aishwarya’s perceptible chemistry with Rajni is a welcome surprise as she hovers on the thin line between gorgeous looks and good acting and she succeeds in achieving both. Danny as a high profile villain is another classic example of Shankar’s immaculate casting.

Arguably in his last movie as a middle-aged Hero, Rajni Kanth has scaled the feat of inscribing 3 challenging characters onto his proprietary super star image with as much élan as one would expect from the legendary actor whose larger than life persona has overshadowed his acting prowess hitherto. Given the role of a diligent and a persevering scientist hell-bent on achieving his goal, he masterfully complements that with a subdued and a modest attitude combined with shrewdness. As an acquiescent robot called Chitti, we get to see a never-seen-before avatar of Rajni who is not only childishly innocent but also fights for justice using all the skills that are at his disposal. In the latter half of the movie he transforms into a killing machine, which he does with supreme imperiousness and wit that belongs only to him. The emotionless face of Chitti brings emotional tears to the audience at the end that is as befitting as it is ironical.

In summary, Endhiran is not just another good movie but a significant landmark in the history of our film industry. Everybody who watches this movie will be infected with a disease called “New Cinema” and the symptoms of that disease would be demand for better quality movies at the very least. Endhiran has not only provided the means to break barriers within the country for a unified movie-watching experience but also paved the way for international film industries to take a look at our own products. There cannot be more breaking news to the movie lovers than the announcement of a sequel by Shankar and undoubtedly the excitement levels will be as enormous as the biggest prime number quoted in this movie.

shyam sundar
a_shyam41@yahoo.co.uk
Tags : Endhiran, Rajinikanth, AR Rahman, Shankar, Aishwarya Rai

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