Boss Engira Baskaran made a perfect 150-minute escapade. But, the dum-dum ending gave me the jeepers. Is this the way films are meant to end? What is the use when the fourth wall is broken right in the climax? The film does its best in entertaining with witty humor.
Arya in his second consecutive entertaining role after Madrasapattinam lays it off easy as the boasting protagonist who has a thing for being vagabond. Moreover, the expressions he pulls off while delivering a few dialogues are noteworthy. Becoming the next big thing, Arya rocks the boat with his performance. Nayantara to some extent becomes a pleasing foxy woman who tries her best to appear pleasant in costumes that fail to reveal any skin. No matter how deglamourized she may look, you are reminded of her glamorous image often. The whole film rides on Santhanam’s performance, who ably balances it with his repartees and wisecracks. He is the real boss of Boss Engira Baskaran. Another plus point is Subbu Panchu, who plays Arya’s brother. He has this rare talent of providing humor with a grudge.
Writer-director Rajesh has dished out another commercial cocktail but fails to apply the glossy touch. Why oh why do we need the song ‘Maama Maama’ right before the climax? But, when compared to his crass debut, Siva Manasula Sakthi, Boss Engira Baskaran is a promise that the director can outperform himself.
Keeping up the faith by making you laugh, Boss Engira Baskaran’s promises a clean family entertainer. Watch it for Santhanam.
Cast: Suriya, Nayantara, Saroja Devi, Bharath Murali, Vadivelu, Sayaji Shinde, Anand Babu and Rahul Dev
Genre: Jason Bourne turns into Mr. & Mrs. Smith and later as Varanam Aayiram and finally into Main Hoon Na. In short, it’s an action/romance/family/spoof drama.
Rating: Tough to rate even though the presence of stars in the film is abundant.
AADHAVAN IS A LANDMARK FILM. It is the 100th film I’ve seen in Inox. Also, it is the eighth film where I’ve sat patiently till the end when I wished to have walked out halfway through. I exited the cinema hall when Ayan was halfway through as it had too much of fantasy because I couldn’t think of an Indian Suriya kicking the butts of several African gangsters. K.S. Ravikumar returns to what he does the best after changing tracks in his last film, Dasavatharam. Harris Jayaraj finally delivers an album with only one chartbuster – Guess what?
An actor is one who dons different roles in different films. But, Suriya doesn’t oblige to the rules. His action stint from Ayan is copied and so is his ‘daddy’ sentiment from Varanam Aayiram. Hence, you don’t get to see the character, Aadhavan at any point.
In the film, Suriya plays a hitman. He is also the son of Sayaji Shinde who occurs in probably his worst ever appearance. He is the brother to Anand Babu who returns to Tamil cinema in a badly knit characterization. How can a man attract a woman like Nayantara by performing different yoga aasanas? Well, Suriya as Aadhavan attracts Nayantara in this way. He also attracts the kids with his crazy Power Rangers gimmicks. Filmmakers have been copying District B-13’s famous stunt scene where the protagonist jumps through the glass pane on top of the door and slides through it. Mahesh Babu did it in Pokiri. Jayam Ravi did it in Dhaam Dhoom. Suriya had already done it in Ayan. He does it again in Aadhavan.
Had I walked out of the cinema hall, I wouldn’t have discovered that a seven-bullet carrying revolver can shoot as many twenty bullets without reloading. What I discovered in the first assassination was that James Bond filmmakers were wrong. In Moonraker, Roger Moore wasn’t able to shoot Drake’s hitmen as he was underwater. Here, Suriya shoots a foreigner from underwater with a silenced 9mm. I also learnt that Bazooka bombs were not instant hits, they were equipped with a timer of two minutes. That’s a good technique as it provides Suriya, ample time to regain consciousness and swing up to the bomb to save his family.
The girl in the 90 second GRT wedding & celebration advertisement stole my heart while the girl in the 160 minute long movie stole my happiness and well-being. I still prefer Marilyn Monroe’s infamous dance from Bus Stop. Why can’t we try something new?
When Vadivelu says ‘bore adichu pochu’, he was hinting. We get bored on seeing Suriya’s failed attempts to assassinate the judge. Returning to the screen is Saroja Devi who should have chosen a better movie and not Aadhavan. It is the current trend to speak dialogues at the speed of a lightning and not emphasize on vowels like ‘thamizh’. Over the course of the film, Vadivelu keeps hinting that she is wearing too much makeup. Still, she appears over-glorified and doesn’t change her makeup artist. The MGR stint redone in the film is certainly avoidable. We’re talking of Aadhavan, the merciless killer and not Aadhavan, some bloke who loves MGR films. Our man from KANDHASWAMY, Mexican Pichumani returns as the Paal Paniyaaram loving paternal uncle to Nayantara. Well, I was praying that he would say “Kolkatta-la Pichumaniya theriyaadha aalae illa.”
When I heard about Suriya’s ten year avatar, I was expecting Apoorva Sagodaragal, not Forrest Gump. Well, I was in laughter whenever I saw that ‘enlightened’ face and darkened body. Why are we so preachy?
Harris Jayaraj shouldn’t have chosen Aadhavan. His beautiful music has been ruined by bland costumes and pale landscapes. Vaarayo is beautifully sung but badly visualized. But, he delivers with Hasile Fisile. When the song rolls on, the 299-seater Inox Screen 1 jumped in joy.
If India had a Golden Raspberry Award, Aadhavan would surely be in contest. But, will it beat Kandhaswamy and Villu? We’ll have to wait and see.
A film which can be clearly spotted for its faulty screenplay is Aadhavan. Saroja Devi’s comeback has nothing to offer. Vadivelu’s jokes may be the only form of entertainment. Hasile Fisile is available on Youtube. If you’re going to watch it, please book a funeral with the following words on your tombstone – Braved Everything and Watched Aadhavan.