We miss the previous Kamal Haasan, who gave us marvellous motion pictures like Apoorva Raagangal, 16 Vayathinile and Nayakan amongst so many others. There he immersed himself in numerous characters, and he hardly allow us to take into consideration the actor. We thought of and adopted the characters. But for a few years now, he has thrown away this, as an alternative selecting to play himself, Kamal!
Raj Kapoor was a showman all proper, however he nonetheless strove to establish with the character he was essaying; Haasan fails right here. He – movie after movie in recent times – can’t let go of his picture as a star. He by no means lets us neglect that he’s Kamal, and performs to the galleries of his fan golf equipment. But I’ve this sneaking suspicion that even his hardcore admirers are starting to tire. Remember, we are actually within the age of the web, and OTT platforms have thrown up some glorious stuff.
Kamal’s newest journey, Vikram, comes after a four-year hiatus. His final outing was Viswaroopam 2, and that was in 2018, an eminently forgettable effort. Writer-director Lokesh Kanagaraj’s Vikram could also be shades higher than Viswaroopam 2, however that’s not saying a lot.
Vikram is drama, drama, drama all the way in which by which the director has not solely bitten greater than he can chew however displays his diehard admiration for Kamal. Fortunately, we’ve glorious actors like Fahadh Faasil and Vijay Sethupathi, who, although, is getting typecast and nonetheless must work on his dialogue supply. I noticed shades of his Vikram Vedha character in Kanagaraj’s thriller, whose excessive octane motion and loud decibel ranges are sufficient to get one drained after some extent. And the movie at 177 minutes is excruciatingly lengthy, and it kills us with boredom within the second half.
The begin has a promise, however Vikram is allowed to be wasted later. The film performs out at many ranges – there’s the case of a consignment of lacking medication (Suriya has a cameo because the crime boss), and there’s the intriguing occasion of masked males going about killing cops (which jogged my memory of the Nineteen Sixties and Seventies Calcutta when younger Naxalites did the identical, butchering policemen who had been thought of class enemies) with Karnan’s (Haasan) father falling sufferer, and there’s the revenge saga.
Trying to crack the crime is Amar – Faasil in a superb piece of portrayal as the pinnacle of a police crew chasing Sethupathi’s Santhanam (a fearsome drug lord). And in direction of the tip, we’re supplied a twist that’s each fascinating and foxing!
Sadly, the narrative loses a lot of its zing after some extent, and the component of thrill and thriller will get misplaced in inane dramatics. And Kamal stays Kamal (in the midst of the runtime, he will get one other title and identification) failing to get his once-upon-a-time compelling magic again on the monitor. He is all swag, and admittedly, his half requires little or no performing expertise. He is simply anticipated to go weapons blazing. But what a waste of an incredible expertise. Loopholes and logical discrepancies are aplenty, however the pictures and cuts are beautiful, even rhythmic. Girish Gangadharan’s camerawork is prime class. Wish the writing had been good and sensible. Suspension of disbelief is previous, historical past. It doesn’t work anymore.
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