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many pluses From Polladhavan
many pluses From Polladhavan

Polladhavan

Genre Action

Director Vetrimaaran

Cast Dhanush, Divya, Murali

Storyline The hero’s bike gets stolen and come what may he’s going to get it back

Bottomline Interestingly treated

You will like this Polladhavan because he’s like us — not the glorified celluloid hero type, at least not throughout. Practical and matter of fact, he doesn’t believe in big talk. Nor does he snap his fingers as he utters one-liners in typical, clichéd style. For a change, he knows his limitations and turns heroic mainly because he cannot take things lying down after a point. Tracking the hero’s and the villain’s past with parallel flashbacks is quite an innovative narrative style — Virumaandi had it, and now Group Company’s Polladhavan (A) follows the pattern. The switch-overs to the past move on without confusion. At no point does Polladhavan sag. Writer-director Vetrimaran has slogged through his screenplay and the result shows. Editor V.T. Vijayan’s handiwork is an evident plus. A mature looking Dhanush is another great advantage. Gone is the lean, lanky look, and so this time when he beats up the goondas, it’s quite credible.

Prabhu (Dhanush) is a happy-go-lucky young man, mad about motor bikes. He becomes responsible once his dad (Murali) gets him one. He secures a job and enjoys it more because he has to travel through the city on his bike and meet his firm’s clients. That’s when Fate intervenes in the guise of the underworld don’s (Kishore Kumar) brother, Ravi (Daniel Balaji). Prabhu’s bike gets stolen, and from then on it’s snafu.

Dhanush is apt as the fun-loving man hopelessly in love and later as the incensed young man who refuses to give up easily. Inadvertently or otherwise, you notice traces of Rajnikanth’s expressions in Dhanush’s dance movements! Divya stars opposite him and is more an adornment in the cast. The item number is an ingredient you could do without in an otherwise neatly packaged product. In recent times, you’ve never seen a more dignified villain than Kishore Kumar. The Kannada actor excels in the role. Malayalam cinema’s veteran Murali is another who effortlessly walks away with the acting honours. And after Vaettaiyaadu Vilaiyaadu it’s a big break for Daniel Balaji — he puts the opportunity to good use. But here too, he’s almost a psychotic case.

Be it a wide canvas or a cramped middle class household, R. Velraj’s camera details matters well. Na. Muthukumar’s interesting lyric and G.V. Prakash Kumar’s tune meld for the ‘Minnalgal’ duet, the music of which is used in the background of the lead pair’s romantic interludes. The singer’s range is the lowest possible, (the purpose beats you!) and the number bears much similarity to the track ‘Smack That …’ (Akon). All the re-mix does is remind you of the great original (‘Engaiyum …’).

The hero’s passion for motor bikes and the bloody repercussions form the crux of Polladhavan. But how come the bike he and his girl friend abandon midway to flee the menacing hoodlums, is found at the doorstep of his house a little later? Confusing! At times, the gore brings Dhanush’s Pudhupettai to mind. But unlike it, Polladhavan sustains your interest till the end.

MALATHI RANGARAJAN


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