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by : Behindwoods review board
Aadhi, Meera Nandan, Jayaprakash, Vishnu
Sri Rajalakshmi Films
the success of Eeram, actor Aadhi opts
for a commercial film Ayyanar that is
laced with family sentiments, action and
suspense. Debutant Raja Mithran takes
on with a family drama that is interwoven
with a mysterious backdrop in tale.
The film opens with Prabhakar (Aadhi)
brother Saravanan (Vishnu Priyan) and mimicking as
him over the phone to his mother. Cut to flashback
of 2 years time, the film is set in backdrops of Kumbakonam
depicting Prabhakar as a devil-may-care lad. Younger
brother Saravanan, the breadwinner of the family happens
to be his only envy as his family members pamper him.
This incisively leads to a blind assumption behind
the shocking act of Prabhakar. But the tale proceeds
in unexpected paths with an incredulous suspense unraveled
Filmmaker Raja Mithran has composed a family drama
that involves the projection of egoistic problems
persisting between siblings. Similarly, the behavioral
attitude of family members of how they treat them
with their own accordance is also portrayed. The cryptic
15 minutes prologue appears effective. But in later
point of time, the screenplay goes disoriented as
audiences fail to differentiate between the present
and flashback sequences with realms of many illogical
It looks like Aadhi purposely opted to jump into the
shoes of mass-hero. Unlike his previous flicks, Ayyanar
tries to depict him in a larger-than-life role, where
he chews beedas, smashes down dozen of roughnecks
at the same time and gets into dream sequences for
duets with Meera Nandan.
Heroine Meera Nandan’s role is restricted to
same degrees of what other heroines get to play in
usual commercial potboilers. A big disappointment
for Santhanam fans as the actor doesn’t appear
more than a couple of scenes. Having promoted the
film with his solo images with looks of Osama Bin
Laden, it turns out to be a letdown for them. Jayaprakash
sleepwalks through the role of a strict father.
Director Raja Mithran fails to focus upon certain
things, which happens to be a blatant flaw in the
tale. The basic confusions break open with the protagonist’s
decision of hiding the death of his brother. His reasoning
remains unjustified even after the show. If the filmmaker
had scrupulously concentrated in these areas, it would
have been better. The scene involving Aadhi’s
escape from a bunch of policemen surrounding him is
exceptionally displeasing. How could the director
conceptualize such an amateurish sequencing? The complete
drama of police investigation acts as a spoiler.
Thaman limits himself to the same pattern as the songs
remind you of some of his other albums. The title
song ‘Kuthu Kuthu’ with the wild choreography
is a special treat for the masses and ‘Pacchai
Kili’ is a dulcet melody well picturized by
cinematographer Sethu Sriram.
Ayyanar stands in the passable league that can gratify
the audiences, who are least, bothered about logics.
Verdict: An average show by first-timer.
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