Chennai and Tamil Nadu
Speak less, please! -- Vaitheeswaran
Where ratiocination runs parallel: Vaitheeswaran
With neither the differently moulded Pachchai Kili … nor the back-to-formula feature, Nam Naadu, working magic at the box-office for the ‘Supreme Star,’ he now returns with an occult theme in Annamalai Films’ Vaitheeswaran (U). It’s a tug-of-war of sorts between logic and astrological dogma — between Sarath Kumar and Vijayakumar. And caught in the mire of arguments, counters, debates and discussions is the hapless viewer. Seriously, there’s too much talking going on in Vaitheeswaran.
Though the subject takes an unusual route, the characters comprise the usual strong-willed hero, villainous political bigwigs and ever-corrupt police officials. Palm leaf predictions, which have gained acceptance among our rural folks since time immemorial, state that the brutally murdered young boy Saravanan will return to his pining mother, in his next birth. The manuscripts even foretell the day of his arrival at the remote village several years later. Only that the mother has to sit meditating through the years for the purpose in the precincts of the temple! Does the boy return as a young man? And does his return mean victory of superstition over common sense?
Sarath Kumar plays psychiatrist Bala, who is against the theory of vengeance for a crime committed in the previous birth being wreaked in the next. Looking trim and robust, Sarath goes about the chores of a commercial hero quite well. (Except that the hero-meets-heroine sequence is downright crass.) There’s nothing novel or different for Sarath to portray. You can only feel sorry for the consummate villain, Sayaji Shinde, who has to roll his eyes and twitch his lips the same way in film after film.
The theme by itself is fine. It’s the treatment that gets suffocating after a point. Isn’t it ridiculous to think that the boy in this birth will grow into a man with the same kind of features in the next? And sadly, helping in the idiocy is the ubiquitous computer!
Another lacklustre aspect is the choice of heroine for Sarath Kumar yet again after Nam Naadu. Meghna Naidu looks rather mature in those dare-to-bare outfits (in the song sequence) which just don’t jell with the mood of the storyline. The duet (only one, thankfully!) has been introduced more as a ritual. In fact, the director (R.K. Vidyadharan) seems to be in haste to get the customary romance out of the way and move on with the narration.
Commendable all right, only that he gets bogged down by his penchant for verbosity, thus reminding the viewer that he started off as a dialogue writer.
‘Kangalae Thoongadhae’ is an unbelievably melodic refrain from Srikanth Deva. But the sonorous re-recording bits are on familiar lines.
Beginning on an esoteric plane Vaitheeswaran soon crash-lands on a meandering terrain of myths, miracles and implausible occurrences!
Director: R. K. Vidyadharan
Cast: Sarath Kumar, Meghna Naidu, Vijayakumar, Sayaji Shinde
Storyline: The prediction is that a boy who’s murdered will return for revenge. Does he or doesn’t he, isn’t clear till the end.
Bottomline: Speed-breakers aplenty and clichés galore!
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Chennai and Tamil Nadu