Chennai and Tamil Nadu
A bloodbath almost -- Bheema
Cast: Vikram, Prakashraj, Trisha
Storyline: A young boy follows a powerful man’s footsteps and becomes part of the mafia.
Bottomline: Bloodshed takes unpleasant proportions.
It’s bloody. It’s mayhem. And for what it’s worth Sri Surya Movies’ ‘Bheema’ (A) has a message too. But nothing you’ve not seen on screen before. The suspense and ingenuity you noticed in writer-director Ling
usamy’s ‘Sandakkozhi’ is missing in ‘Bheema.’ Bolstered by an enviable combo of crew and cast, expectation is naturally high and the style and sheen of the first half lives up to it. But slowly narration begins to totter, with gore getting gorier and murders getting maniacal. Finally, it’s homicide on a mammoth scale! Vikram’s ‘Bheema’ spells violence with a capital ‘V.’
Chinna (Prakashraj) is Sekar’s (Vikram) role model since childhood. The power of the don fascinates him and he toes his line. But they are villains with values, goondas with a lot of goodness in them. And it’s a chequered life they lead …
‘Bheema’s redeeming factors are many. Vikram for one! Exemplifying his performing potential in an action based script isn’t easy. But he achieves it with élan. He has worked hard on his physique, body language and hair style. Kudos to his diligence! But when the warp and weft of the narration give way after a point, he can only appear helpless — especially in the finale when Sekar’s foresight and acumen come to naught.
Can’t blame Sekar for making Chinna his mentor! Prakashraj’s charisma in the role is such. His imposing demeanour and powerful eyes are assets. A superb essay from the actor! It is to Lingusamy’s credit that he has given most of the characters their individuality. ‘Thalaivaasal’ Vijay, for instance! The sober looking Samy, a lieutenant in Chinna’s underworld, has little to do till the climax. But in the final sequence Vijay carves a niche for himself. Shafi, the jealous colleague of Sekar, is another actor who impresses. Trisha is the usual, pining heroine. Except that her stunning looks put her on a pedestal. After ‘Unakkum Enakkum,’ she looks so ravishing in ‘Bheema’ that you tend to overlook her laboured dance movements.
Harris Jayaraj has moved up a notch with another hit album. The duets, ‘Mudhal Mazhai …’ and ‘Rahasiya Kanavugal,’ are hum-worthy pieces. But the sonorous music of the action sequences is a let-down. Aesthetically filmed (R.D. Rajasekar) in a tastefully done up milieu (Rajeevan), the sequences are a connoisseur’s treat. The telling sepia tones and the play of light and darkness of the fight scenes reveal Rajasekar’s prowess. Skilled scissoring (Antony) keeps up the tempo to an extent. ‘Kanal’ Kannan’s action choreography is another positive aspect.
Climax is the main culprit in ‘Bheema.’ Fans of commercial cinema like their hero to surmount all odds and emerge victorious. Any other culmination could prove dicey. Perhaps when the protagonist himself is a bad man, you are left with little choice. Still, as you walk out of the cinema hall, the number of unwarranted deaths leaves a sour taste.
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Chennai and Tamil Nadu