Parallel stories that entertain
Film: Achamindri
Director: P Rajapandi
Cast: Vijay Vasanth,Srushti Dange, Vidya, Samudrakani, Saranya
The commercialisation of education and related scams are the focal points of the plot. With a cop and a pickpocket as the crucial characters, the narration travels on parallel tracks, until it converges at a point where the story spirals to the desired ending. Quite a few films in recent times have the faulty educational system and the issue of private versus government-run institutions. The director here has made an attempt to bring in slight variations within the limitation of the oft-tackled plot — like replacing the usual male echelon of power with a woman-centric one. And, allowing the private institutions who in earlier films have rarely had a say, to put forth their views.
The early scenes have Shakti (Vasanth) and his pickpockets in action. One of the wallets stolen would at a later stage, put Shakti in a spot. Vijay Vasanth is adequate in his role, faring better in the fight-sequences. Shakti’s dalliance with Malar (Srushti) who mistakes him for a cop and their friendship turning to love, is almost a rushed-through affair. Which doesn’t leave any time for mulling over the girl’s lack of sensibility in judging people and situations!
On a parallel track is Satya the new cop on the block, upright and gutsy. Samudrakani lends the right tone and attitude to the character. The cop’s attraction towards Shruti, a mute orphan (Vidya cutting a pretty picture), is carelessly scripted, with no real lead to how and when love had blossomed between the two. Some of the stunt sequences have been ably choreographed – like the car-chase where the cop comes to Shakti’s rescue.
Radharavi plays the minister who in the earlier moments was almost made to seem like the villain of the piece. Saranya as Rajalakshmy, enters the plot later and hogs the show. As the head of a group of educational institutions, Rajalakshmy would do anything to make sure that her institution had the best students. A far cry from her usual mother-roles, Saranya reveals a new dimension to her performance.
As the cool ruthless woman, who with a perpetual smile on her face takes on the accusations leveled against her in court with logical arguments, the actress is eminently watchable. There is no moralising or preaching as the two sides argue their points of view. It’s poetic justice that the director opts for as a solution to the issue. It may not be the best of scripts going. But what it does in its 123 minutes of running time is it keeps you fairly entertained.