Velu (Bharath), a gym instructor with a loving family, falls in love with Sugisha, an orphan. Having witnessed Velu's bravado, Duraipandi (Raj Kiran), an ex-military man, seeks his help in fighting for social causes but he refuses. But after an accident, Velu learns that he has only six months to live and heeds Duraipandi's words, turning into the vigilante Thiruthani...
Director Perarasu's career has been one of diminishing returns and
is further proof that this director is content coasting along his early successes. Of course, even his initial films (
) weren't terrific as far as commercial films go, but still managed to tap into their leading man's charisma and heroism and entertain us with their energy. But his latter works have all been watered down versions of those films, showing that his scripts turn limp without a genuine star.
There is, in fact, a line in the beginning of
that highlights the director's present predicament of not being able to convince a star to be part of his projects. Even as a supporting character imagines Vijay's character in
turning up to beat a bunch of rowdies, Duraipandi tells him, "
Ella prachanaikum Rajini varuvaru Vijay varuvaru nu edhir paarka koodathu. Naamale deal pannanum
And, Perarasu's way of dealing with his casting problem is to go again to Bharath, with whom he teamed up earlier in
. The actor, suitably beefed up to play this role, tries hard to make you believe Velu is an angry young man but his baby face makes you wonder how this guy manages to kick gas cylinders as if they are footballs! The director also seems to have come to the conclusion that he doesn't need Srikanth Deva to create a din to go with his visual assault and has turned composer as well.
The screenplay follows the regular graph of a Perarasu film — hero introduction fight and song, family emotions, heroine falling for the hero despite his MCP-ish views ("Guys go to a gym to get six-pack, while girls go there only to have sex pack"), hero taking on the bad guys with barely a challenge and even the unnecessary cameo by Perarsu. But what is lacking in
is the punch that such a film demands. There is not even a clash between Bharath and Ashish Vidyarthi (who is introduced only after the interval). Instead, what you get is a filmmaker going through the motions, trying hard to supplant real drama and action with frenzied editing and overpowering music. What makes this worse is the constant self-referencing to his earlier films, which not only feels narcissistic, but also unintendedly highlights this film's ineptitude.
All this can be indulgently forgiven for the bar is set too low here, but what cannot is the flicking of visuals from
to show scenes of violence on the streets. Even the visual lead to the film's production house's (Baskar Cine Arts) logo in the titles is that of Aslan, the lion from the Narnia films.
Still, however unintentional it might have been, Perarasu manages to gives us quite a 'powerful' film, by making sparks fly out of electrical machinery whenever and wherever possible. In these power-strapped times, this is indeed a more fanciful sight than the foreign locations we get to see in the listless songs.