Movie Review: Raavanan

Finally, the most awaited flick of this year 2010 is out and we bring you the exclusive review with the clear-cut analysis. Manirathnam’s aesthetic style of filmmaking has always won heavy downpour of praises of Indian film fraternity. His efficacious ability to chop his actors into brilliant characters, the phenomenal screenplay and daring approach of breaking the barriers has made him achieve the surpassing levels of tinsel town.

Manirathnam’s ‘Raavanan’ is the best when it comes to technical aspects and on the narrative vistas, he’s simply superb. But on pars, there are some acceptable flaws that trivialize his efforts up to certain extent, but that doesn’t emerge out as a constraint.

Well for actors Vikram and Abhishek Bachchan, it’s an unforgettable milestone in this career.

Let’s glimpse into the storyline first and make a valid analysis of this film….

The film is strictly focalized on three characters: Veeraiyya (Vikram), Raghini (Aishwarya Rai Bachchan) and Dev Prasad (Prithviraj).

Nothing stops Dev, a righteous honest cop and Raghini, a classical dancer to get married. Despites inwardness of conflicts, they enter nuptials. Sooner, they make their down to Vikramasingapuram, one of the speculative regions of South India since Dev is transferred to the region. Things aren’t same for Dev as he witnesses that cops and their law factors has got nothing to do here. Everything about justice, law and disputes comes under Veeraiyya aka Veera. He has his own dreams of fights vigorously for the sake of his community, but Dev has to tackle the scenario and breaks into Veera’s path. A ferocious attack over the Veera and his fellowmen results in the death of his sister (Priyamani).

Losing his closer one, his heart is broken that urges him for a retaliation now. It’s about kidnapping Dev’s sweet wife Raghini and the mission is done.

What unfolds next is a journey of impinging conflict between these three characters that has emotions to capture the audiences rather the characters.

What makes Manirathnam so outstanding is that he makes you diminishes the graphical aspects and brims the locations with the real feel?

Aishwarya Rai’s hop-skipping acts across the cliffs and rocks maybe churned out of BLUE MATT, but that has pictured very much natural. The main protagonist of the film is none other than Aishwarya Rai herself as the entire plotting has been centralized on her character.

The 2-dimensional depiction of Raghini – FOR and AGAINST is what it makes her outstanding. Vikram is fantabulous and Manirathnam couldn’t have got any actor to perform such an intensely powerful role as him. Be the sequences where he outbursts of losing his closer one or advocating for his principles and community. Right throughout the film, we tend to see that the screens are completely dominated by these two actors.

Prithviraj looks slightly nervous during major sequences, especially during the intimate scenes with Aishwarya Rai Bachchan. It looks like Manirathnam had strained himself over bringing the right chemistry. The only person who adds to the commercial ingredients is yesteryear actor Karthik. Delineating the mythological character of Hanuman, he amuses us with his hilarious takes on dialogue and mannerisms. Priyamani’s performance is okay as she doesn’t get more footage. But it’s okay even she appears for a scene as its far best than her commercial cinemas with skin shows. Silandhi Munna will surely have a great breakthrough after this film and this lad has strained him a lot in bringing the right show.

The flashback sequences have been placed at right points by Manirathnam as the audiences may have something to cherish about amidst of crucial forest grounds. Prabhu deserves special mention for the kind of mannerisms he exerts during the sequences and he seems to have worked a lot to get him more with rougher physique.

A.R. Rahman background makes the audiences completely blissful as the scenic shots of Santhosh Sivan and Manirathnam’s rhetoric treatment gets an enhanced feel. No words for appreciating his songs as the choreography have been performed very well indeed. Santhosh Sivan’s gloomy toned frames exactly add psychological feel on the audiences as it offers a tensed mood. Dialogues by Suhasini Manirathnam are good at places, especially when it comes to the characterization of Vikram.

But some of the actors look puzzled like what they’re actually doing there on the screens. Say for instance, Ranjitha was reported to have more sequences and she doesn’t get enough over there.

On the whole, Manirathnam’s ‘Raavanan’ is classy, but may or many complete savor to the tastes of ‘B’ and ‘C’ centres.