Manmadhan spelt style. Vallavan highlighted love. And Silambattam (U/A) showcases action together with oodles of romance, at times intense but mostly carnal. Silambattam has been scripted by cameraman Saravanan, who debuts as director. Till now you’ve probably watched only fights and duets on trains. For a change Simbu’s passionate love life opens and closes atop them in this Lakshmi Movie Makers’ 25th film. Playing a rustic, Simbu strikes the gong loud and clear to proclaim that as an action hero he has arrived.
What begins as a fairly suspenseful narrative dwindles into a run-of-the-mill line post-interval. Tales of vendetta have been churned out ever so many times. And there’s nothing novel in a pious Brahmin turning vengeful and intimidating. But Simbu the priest arouses interest. Only that it doesn’t go on for long. The typical purohit look suits him well. (But was the tuft missing in the amorous sequence with Sana Khan, on the attic?) By the way, Simbu could work more on his Tamil diction.
Like every hero Vichu (Silambarasan) has a past. His grand dad (Nedumudi Venu) is very particular that Vichu doesn’t get to know the secret of his birth. But the truth is out, and the young man isn’t going to rest till he wreaks revenge on the person who was responsible for his family’s doom. Meanwhile his uncle Muthuvel (Prabhu) learns that his nephew is still alive and wishes to save him. Haven’t you heard and seen the same line umpteen times before? Prabhu’s role isn’t clear. His incarceration and end are rather vague.
Simbu’s eagerness to shine equally in dance and action is commendable. Sana Khan’s is a run of the mill role yet the striking feature is the lip sync which is almost perfect. Thankfully, as a contrast to the ever pining heroine’s lustful overtures (How long will the boring trend go on?) comes Sneha’s cameo. Even in the few scenes she appears, the dusky beauty makes her presence felt — her myriad expressions are a watch-worthy treat.
The middle-aged Brahmin woman is always a sitting duck in cinema. Forever coquettish, she (here it’s Nirosha) is the butt of lewd jokes. So, what’s new about the character, Saravanan? Innuendos bordering on obscenity are an all-pervading aspect of the dialogue in Silambattam.
A saving grace of the otherwise utterly coarse comedy of Silambattam is Karunas, who comes out with a very different line. Another performance that warrants mention is veteran S.N. Lakshmi’s.
Ilaiyaraja takes off on a melodic foray for son Yuvan’s ‘Machchaan Machchaan …’ number. The songs of Silambattam are an amalgam of the remix, hip and the fast paced — the composer has a sure way of reaching the youth. Not just the outdoors, even in the indoor shots art (Prabhakar) excels. And in the fiery fights in a watery background, and in the train sequences Mathi’s tones and lighting shine. It’s obvious that both Kanal Kannan and Simbu have worked hard on the stunts.
With the scene of action being Tirunelveli and Kumbakonam, Simbu shifts base this time to focus attention on the youth of the towns and villages. They should love to watch one of their kind prance around with white babes in scanty wear for ‘Where is the party?’
Who’s bothered about incongruities here? And so what if the dialogue is downright crude? Simbu-Saravanan’s single point agenda in Silambattam is to please the psyche of a select group of audience. So little else matters!Silambattam
Cast: Silambarasan, Sneha, Sana Khan
Storyline: A soft temple priest turns aggressive when he learns about his past …
Bottomline: Action, with an ample dose of grossness