Comedians becoming heroes is not so new to Tamil cinema. Almost all comedians have attempted in leading the show in at least one film in their career. Now it’s the turn of actor Vivekh who carved a niche for himself by using humor to convey message to the society.
After a few unsuccessful attempts Vivekh has successfully completed his first film as the hero with ‘Naan Thaan Bala’. And the veteran comedian who follows a unique style in evoking humor has resorted to a role that is completely devoid of humor unlike the other comedy actors have opted only for roles that offer scope for their signature humor even if it is the lead character.
Poochi (Venkatraj) is a paid killer and an obedient accomplice of local don Kattooran (Kai Thennavan) in Kancheepuram. At the behest of Kattoran, Poochi goes to Kumbakonam and kills a businessman. In the same city he meets Bala (Vivekhh) an upright and god-fearing temple priest. Poochi helps Bala when he is in dire need of money and goes back to his hometown since his assignment is complete.
Bala loses his job as well as parents and goes to Kancheepuram to meet Poochi. From then on Bala and Poochi become close friends and Bala starts reforming Poochi as a respectable person.
Vaishali (Swetha) a girl from a lower middle class family living in the locality and Bala fall for each other. When the wedding is fixed between the two, Bala comes to know about the murder committed by Poochi and its ill effects. He assures the Police department that he will convince Poochi to become an approver. Vaishali’s family is against Bala’s decision since it will incur the wrath of Kattooran. However Bala decides to sacrifice his wedding plans to help the victim’s family get their due and to reform Poochi.
Bala’s efforts to cleanse Poochi off his sins form the rest.
Debutante director R.Kannan’s intentions are noble. He has opted for a story that aspires to tell how sinful it is to cause harm to others. He has taken the help of Hindu religious scriptures, especially Bhagavad Gita to convey his message. The meaningful and hard hitting dialogues in the crucial scenes convey the point. But what hampers the overall impact is the script replete with cliches and uninteresting narration.
For every situation the reaction given by a character goes overboard. Every thing shown on the screen in a clearly understandable way is dutifully accompanied by a dialogue that explains what it is. When the story shifts to Kanjeepuram, the location name is shown on the screen. As if that is not enough, the weaving of a silk saree is shown at the back drop in the ensuing scene to remind us again that the story is happening in Kanjeepuram. Isn’t cinema a visual medium?
The characterization of the Vivekh’s Agaraharam inmates, the heroine and her family members are highly amateurish. And little care has been taken to make the actors donning these characters act a little naturally.
The scene in which Vivekh makes Venkatraj realize his sins and convinces him to accept his crime are neatly written and executed. The climax twist (wonder whether we can call it a twist) may shock a few. However the rendering of Bhagavad Gita Slokas in that scene evokes unintentional laughter in the theatre hall and we could not help feeling sorry for Vivekh’s efforts to pronounce the Sanskrit verses with perfection.
Vivekh proves that he is a seasoned actor with right expressions and dialogue delivery. Even in emotional scenes and the scenes that would require him to weep, the actor is perfect. His efforts to pronounce the Sanskrit verses with perfection have paid off well.
Swetha looks the typical girl next door and does not have much scope to perform. Venkatraj’s(Introducing) acting is poor. Kai Thennavan and Sujatha who comes as his money-minded wife prove their expertise in acting with the miniscule role offered to them.
The comedy track allocated to Cell Murugan and Mayilsamy hardly evokes laughter while Cell Murugan’s utterances in the scenes forming part of the main story line raise a few guffaws. It has to be mentioned that Cell Murugan’s character reminds us of Vivekh’s character in many films.
Venkat Krish’s songs are passable. ‘Thiruvai’ and ‘Amma Romba’ makes us listen with its tune and relatable lyrics.
Azhagiya Manavalan’s cinematography fits the bill
The glitches in writing and execution are too many to let us hope that a good message and Vivekh’s acting prowess can help the film sail through.