By Abhishek Krishnan

There is love after love failure. There is life after love failure.

When Atlee decided to roll out a flick with a tagline such as this, he was sure that he was going to touch his audience personally. Yes, the movie is a romantic drama that has its share of truism. But what’s interesting here, is the way Atlee managed to pull off a domineering commercial success. Raja Rani can be compared to a game of chess with a little twist in the end.  The King and Queen of two antithetical territories, battle it out against each other and of course what happens in the end is the twist in the game.

Surprisingly, Atlee has had the ken to make the right moves in his ambitious chess game in order to churn out a movie that can draw in a large number of audiences.


We all know that Arya has a huge heart when it comes to readiness in sharing screen space. Right from Arinthum Ariyamalum, Arya has never been too uptight about accepting movies that have dual leads, routing him to do movies like Ullam Ketkumae, Pattiyal, Avan Ivan and Vettai to name a few. Young Atlee has spotted out just that. Atlee took Arya on board, considering his generosity and the thickness in his market value, making a perfect move in the process.


The Arya – Nayanthara pair had shown a lot of promise in Boss Engira Bhaskaran and Atlee was keen about handpicking the two super-active chemicals to work out the chemistry that was required in the film. Nayanthara has shown maturity in rendering the character of the typical young lady who is bold yet emotional when it comes to decisions concerned with life and love.


To those who have not got to watch the movie yet, Jai’s performance is something to look out for. He plays a fearful call center professional who falls in love with someone whose character is completely in contrast to that of his. His timidity is the stand out element in his characterization and Jai has pulled it off radiantly.


Who would want to miss an opportunity to make use of the magnetism in this young lady? Her introduction sequence, followed by the expressive deliverables that she is basically loved for, gathered more attention than expected. Nazriya has proved that she can emote well in mushy sequences too, thereby sending out a strong statement that she is one among those few actresses who are foreseen to have a long run in the industry.


Wondering what Sa-Ra-Sa is? It’s definitely not a mind-boggling puzzle. Sa-Ra-Sa here refers to Santhanam-Rajendran-Sathyan. We all know that Santhanam and Sathyan are capable of waking those tickle nerves up relentlessly. But, who would have ever envisaged that Naan Kadavul Rajendran would kick us up with jocular moments delivering dialogues as simple as ‘what’ and ‘what what’ and still hit us with laughter. Santhanam’s delicate expressions in sequences that put his friend and him in a pool of awkwardness, is noteworthy and easily laudable. 

When we look at Raja Rani as an overall product it is evident that Atlee has been clear in what he wanted. His affable approach has helped him scoop out the best out of his artists and technicians. The director had also mentioned in an interview with Behindwoods about the rapport he built up with his technicians.

I can never be serious or formal with anyone. The moment I attempt to be serious, I realize that I am being artificial. When I first approached G.V Prakash for the music, I called him Sir. Later it became Brother and finally Machi. Our friendship has definitely reflected in the back ground score of the movie

It is heart-warming to see someone as young as Atlee to have brought together a huge team, worked on minute details and come out with a commercially viable product such as Raja Rani. Atlee has made the right moves, emerging victorious in the chess game hands down, winning the hearts of a huge mass of people in the course of action. It is palpable that the ‘five year schooling’ in Shankar’s camp has been put to the best use.



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