It’s a story of two men. One of them is called the wolf and he is a ruthless killer having both the police and the underworld gunning for him. But the man is determined to stay alive until his mission is completed. The other is the sacrificial lamb, a simple youngster whose world goes topsy-turvy when he saves the wolf’s life.
For one, it is a journey of guilt, penance and redemption. And for the other, it is a coming-of-age experience, albeit a horrific one. The cops use the lamb to lure the wolf to a trap. But the wolf turns the tables on them. The equation between the duo changes as the story progresses. Mysskin’s latest venture has him scripting, producing, directing and playing one of the leads.
A riveting fast-paced thriller, it keeps you engaged with its well-crafted screenplay, suspense and action-packed scenes. The film has a foreign sensibility. And when you come out of the theatre, you get the feel of having watched an exotic Korean or a Japanese thriller — of the kind Takeshi makes.
Mysskin essays his role as wolf efficiently. This being his second attempt at acting, he’s projected himself well. Wolf speaks little and is ruthless, battling his own demons. Mysskin brings the right nuances to the character, performing with feel and conviction. Shri (of Vazhakku En 18/9) plays as Chandru, the lamb of the story.
Chandru always finds himself caught between the devil and the deep blue sea. Shri brings out the evolution of the character from a scared innocent youngster, to one who is daring.
Most incidents happen on the roads in the night. Wolf plays the cat and mouse game with the cops, and is hunted down by his own mentor-turned-enemy Thamba. Mysskin doesn’t waste time on elaborate flashbacks about why wolf seemed a tormented soul, and why Thamba was baying for his blood. It’s subtly brought out in the form of a fable narrated by the wolf to a little blind girl.
As the story of the wolf, the lamb and the wicked bear unfolds, we get to fit in the pieces of the puzzle. The sight of a group of visually impaired people caught in the melee, brings in a feel of melancholia.
The dark humour, mainly during the interaction between the cops and the wolf, spices up the narration.
On the flip side, some scenes seem repetitive, while a couple of others stretch to a slackening length.
The narration could have been crispier. The technical crew has coordinated well with the director’s vision. The fights and chase scenes are ably choreographed. The one at the basement parking lot between wolf and Thamba’s men is visually stunning and lyrical, reminiscent of the stylish choreography of Samurai films.
There are no songs in the film. But Illaiyaraja’s background score is a key factor in enhancing the narrative value. There is a relevant point made. That no human is entirely good or bad, it’s the circumstances that make him so.
Mysskin’s wolf and the lamb saga is refreshing, exciting and offers a different viewing experience to Tamil audience.