Cast: Ajit, Asin, Vivek
Storyline: Ajit kills all theway.
Bottomline: Vengeance forthe nth time.The fire of `Anniyan,' the fury of `Indian' and the taciturnity of `Gentleman' come together in Sri Rajakaliamman Super Films' `Aazhwar,' directed by first time maker Sella. Amidst a deluge of films in the action genre, comes Ajit's `Aazhwar.' Serious roles are not new to him neither is the theme of revenge. Ajit is a man of few words in the film and smiles only in the heroine's dream duets. So much so he ends up looking uninterested in what's happening around him. In `Aazhwar,' ghastly killings are so very easy and pulling the wool over policemen's eyes even easier. Shiva (Ajit) is an introvert, who keeps to himself. Priya (Asin) tries to win him over because his aloof nature intrigues her. But when she gets a glimpse of his gory past, she is moved. Irked by the men who destroy his family, Ajit's only agenda is vendetta. It later changes to rising in avatar-form (!) when he sees injustice anywhere.
The creditsThe reserved nature of Shiva suits Ajit's present real life persona. He hardly talks in `Aazhwar.' Neither looking disastrously thin (forget that song sequence which must have obviously been shot earlier) or prosperously rotund Ajit is just right. Only that the character doesn't affect you much either way. Asin's child like exuberance is getting repetitive, and you have Manorama and Vivek making room for some laugh-worthy humour. The main villain cropping up suddenly in the climax is an enigma. Where was he all the while? Vagueness marks some of the latter parts of `Aazhwar' and Sella's pace suffers because of the interposition of too many song sequences. Ramesh Gee's gimmicks with the camera hurt your eyes in the initial scenes, while Srikanth Deva's loud re-recording is apt in the tension-building sequences alone. The songs are pathetic of course, `Hari Om Madhava' is an exception. Full marks to Gajini Sunil for his authentic artwork, especially in the flashback scenes.So what if Ajit is out of Bala's `Naan Kadavul'? In `Aazhwar' he dons the attire and apes the appearance of the Gods, claiming he is one, thus adding a touch of religiosity to his vengeance spree and also sending a message across. Thrill plays a solid part in the sequences where the hero is on the verge of getting nabbed by the police for his bloody actions. But much of `Aazhwar' is so very similar to what you have seen in cinema all along that it begins to appear clichéd.MALATHI RANGARAJAN