Actors make this ordinary rural drama a prevalent affair



Viruman Movie Summary: A fearless and good-natured son fights to make his proud father pay for his sins, including the death of his mother, and to save his brothers from man’s grip.

Viruman Movie Review: With Viruman, director Muttiah is back with yet another action drama set in the hinterland of South Tamil Nadu. This time, he chose to center his plot around the relationship between a father and his son. The film begins with a boy chasing his father Muthupandi (Prakash Raj), a tehsildar, with a knife in his hand. We learn that the man is responsible for the death of his wife (Saranya Ponavannan), which is why the son is in deadly rage, and does not even want to be with her. And years later, as a youth, Viruman (Karthi, who effortlessly steps into a Paruthiviran Light-like role) is eager to pay his father.

On the surface, Viruman’s story has the tension needed for emotional drama, but Muttiah’s mediocre writing never allows the film to be anything more than something that’s barely worth watching. The screenplay is not only formulaic, but written with ease that we are able to predict the development of the plot even when we are a mile away. Every time a conflict shows promise to give some edge to this familiar story, Muttiah settles it in the next few scenes. Take the opening scenes with the female lead Thanu (Aditi Shankar, starting off confidently). He is depicted as someone who is affectionate towards Muthupandi, even though he is a person who is difficult to like. We feel that this equation between them will present a challenge to Viruman, who has fallen for her and wants to marry her, but in just a few scenes, we see the character switch allegiance, a convenient plot line. Thanks for the development. A sub-plot involving friction between Viruman and a Vidhayak (GM Sundar) is also solved in a similarly easy way.

The working parts are mainly due to the actors, imbuing the one-dimensional written characters with flesh and blood. Like Prakash Raj, who makes us look at Muniyandi’s past negative qualities and turn him into someone who can be given a chance for redemption, especially in the last part. Raj Kiran and Karuna give respect to purely functional roles, while Suri manages to crack a few one-liners that come in their place and make us smile. On the technical side, there’s basic proficiency, but these also feel generic – the scenes in Selvakumar SK have a color palette often seen in contemporary rural films, while Yuvan Shankar Raja contributes with some catchy songs and a score that just works.


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