Aalavandhaan
Stars: Kamal Hassan, Raveena Tandon, Manisha Koirala
Music: Shankar Mahadevan-Ehsaan-Loy
Director: Suresh Krishna
THE TECHNICAL brilliance of V Creations's "Aalavandhaan" (A) leaves you zapped. The histrionism of this wizard called Kamal Hassan bowls you over. And the diligence and industriousness of the crew is only too evident in every frame.
It is another feather in the cap for director Suresh Krishna. Kamal and Suresh Krishna who had made impressive impressions in the past with films like "Sathya" and "Indran Chandran" come together again to create a milestone in Tamil cinema.
It is Kamal Hassan's story, screenplay and dialogue and is thus a Kamal show in more ways than one.
Nandu and Vijay (Kamal Hassan) are twins. The latter is soft, rational and level-headed, while Nandu is reckless, impulsive and intolerant. Vijay grows up to be a commando while Nandu develops schizophrenic tendencies and lands up in an asylum for the mentally ill — after killing their step mom (Kitu Gidwani), a termagant. All hell is let loose once Nandu escapes from the asylum. It is mayhem and murder, as he turns a misogynist and targets Vijay's wife Tejaswini (Raveena Tandon) who, he believes, is the re-incarnation of his dead step-mom.
When there is a string of murders to be shown, things could turn gory and unpalatable. The 2D animation cleverly used in these scenes, reduces the bloody effect. Computer graphics (TIL Studios) ingeniously blend with the live shots and reveal a new scientific dimension of Indian film-making.
Vairamuthu's lyrics are again fine examples of his imagination and expertise. The words and composition of "Azhagukku Thai... " number will be remembered for long. Shankar Mahadevan-Ehsaan-Loy trio have created mood pieces in music that suit the situations perfectly.
Kamal's performance needs no eulogy. But that eyes alone can convey every minute expression from agony, desperation and yearning (for the mother) to hatred lust and serenity, is tellingly proved by the versatile actor. If at the end of it all your heart goes out to Nandu, it is Kamal's victory all over again.
Manisha Koirala (in a special appearance) and Raveena Tandon are apt. Youthfulness seems to have bade goodbye to Raveena, particularly in the close-up shots. Sarath Babu, who once played the parallel hero's role with Kamal, is his father-in-law in "Aalavandhaan"!
When the brothers fight in the climax the aim is to kill, but again too suddenly Vijay does not want the brother to die! Anyway, the end is no suspense.
In the case of "Aalavandhan,' the hype and hoopla built up for months seems justified — to a certain extent.
Music: Shankar Mahadevan-Ehsaan-Loy
Director: Suresh Krishna
THE TECHNICAL brilliance of V Creations's "Aalavandhaan" (A) leaves you zapped. The histrionism of this wizard called Kamal Hassan bowls you over. And the diligence and industriousness of the crew is only too evident in every frame.
It is another feather in the cap for director Suresh Krishna. Kamal and Suresh Krishna who had made impressive impressions in the past with films like "Sathya" and "Indran Chandran" come together again to create a milestone in Tamil cinema.
It is Kamal Hassan's story, screenplay and dialogue and is thus a Kamal show in more ways than one.
Nandu and Vijay (Kamal Hassan) are twins. The latter is soft, rational and level-headed, while Nandu is reckless, impulsive and intolerant. Vijay grows up to be a commando while Nandu develops schizophrenic tendencies and lands up in an asylum for the mentally ill — after killing their step mom (Kitu Gidwani), a termagant. All hell is let loose once Nandu escapes from the asylum. It is mayhem and murder, as he turns a misogynist and targets Vijay's wife Tejaswini (Raveena Tandon) who, he believes, is the re-incarnation of his dead step-mom.
When there is a string of murders to be shown, things could turn gory and unpalatable. The 2D animation cleverly used in these scenes, reduces the bloody effect. Computer graphics (TIL Studios) ingeniously blend with the live shots and reveal a new scientific dimension of Indian film-making.
Vairamuthu's lyrics are again fine examples of his imagination and expertise. The words and composition of "Azhagukku Thai... " number will be remembered for long. Shankar Mahadevan-Ehsaan-Loy trio have created mood pieces in music that suit the situations perfectly.
Kamal's performance needs no eulogy. But that eyes alone can convey every minute expression from agony, desperation and yearning (for the mother) to hatred lust and serenity, is tellingly proved by the versatile actor. If at the end of it all your heart goes out to Nandu, it is Kamal's victory all over again.
Manisha Koirala (in a special appearance) and Raveena Tandon are apt. Youthfulness seems to have bade goodbye to Raveena, particularly in the close-up shots. Sarath Babu, who once played the parallel hero's role with Kamal, is his father-in-law in "Aalavandhaan"!
When the brothers fight in the climax the aim is to kill, but again too suddenly Vijay does not want the brother to die! Anyway, the end is no suspense.
In the case of "Aalavandhan,' the hype and hoopla built up for months seems justified — to a certain extent.
