Vivekh Does a Serious Lead Role With Nonchalance

Published: 15th June 2014 02:01 PM  |   Last Updated: 15th June 2014 02:01 PM   |  A+A-

Kannan, who had directed the Prabhu Deva-starrer Rasaiya, returns after a long sabbatical with Naan Than Bala. Playing the lead role, Vivekh comes out of his comfort zone of slapstick comedy and witty one-liners. The plot has him in a serious role as Bala, a simple, pious temple priest whose life takes a turn when he develops friendship with Poochi, a thug. Vivekh is subtle and controlled, his a sincere effort.

VIVEKH.jpgThe film opens on a violent note to depict the ruthless nature of Poochi (Venkatraj) a professional killer. Poochi, on a mission stalking his next target, encounters Bala, a temple priest. The unlikely friendship that develops between the ruthless killer and the priest has its repercussion on the lives of both. There is Bala’s romance with Vaishali, a Boli seller, Swetha (she’s played Ajith’s sister in Alwar) adequate in her role. The analogy of Karna and Duryodhana is brought in to explain Poochi’s dilemma - his blind loyalty to his employer Karutan, and his desire for redemption.

The plot dealing with crime and punishment, redemption and human inadequacies, has the feel of a Dostovesky novel. If only the characters and the situations had equal depth and conviction.

With his rough and rugged demeanour, debutant Venkatraj fits into his role of the killer adequately. Cell Murgan, Vivekh’s comic partner in many films, goes solo in comedy as Poochi’s buddy and makes the most of it. The fight scene where Poochi is ambushed by the victim’s relatives is a well choreographed one. With the temple backdrop used for the plot, it gives a spiritual feel to the proceedings. The dialogue where Bala tries to convince Poochi to turn approver is insightful. But at times the lines turn preachy and sermon-like. Also, at times the narrative style reminds one of old films and TV serials.

The second half is tedious and meandering. Towards the end it dips into melodrama where both the actors and the situations fail to convince. The plot did have the potential to turn into an intriguing play-out of human inadequacies and emotions. But the director fails to capitalise on it.

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