Cast: Ajith Kumar, Kajal Agarwal, Akshara Hassan, Vivek
Oberoi
Music: Anirudh
Direction: Siva
Vivegam as the title logo suggests it’s a film where Ajay
Kumar races with time. Ajay Kumar is an international spy agent, though he
doesn’t do any spying work. His pertinacious character in the film which is
relatable to the actor’s personal life (one who knows about him, basically
fans) makes this character enjoyable to watch. Ajith’s physical transformation
reminds me Amir khan’s ‘Fat to fit’ for Dangal. It’s disheartening that Ajith’s
rigorous work outs are wasted in this film.
Even before the title card, Ajay Kumar gets introduced and through
the intro fight Siva gives us a hint about how the film is going to be. If you
liked the first defying physics stunt, you might probably accept the rest of
the stunts in the film. The film takes you to the time of 2006 as well as 2025.
There are abundant clichés in the film and the use of technology gadgets, methods
is so high. The scenes are placed one after the other so that we don’t get what
is that technology they are doing. When Ajay Kumar and his team try to locate
Natasha (Akshara Hassan, a small yet impacting role) the series of events, the
technology used seems bizarre as it does not allow us to think. There is another
scene about thermal imaging which also is bizarre.
The clichés in the film is high. The interval scene where a plot
twist occurs, but I don’t call it a twist rather half of the crowd would have
guessed that twist. Yazhini (played by Kajal) is wife of Ajay and through the
film she speaks as if she is in some fairy tale. Siva’s previous films
(Siruthai, Vedhalam, Veeram) had rich emotions but Vivegam lacks those and a
few ones are at wrong places. A pregnant Yazhini talks to Ajay who is in a bike
chase.
Anirudh’s songs are delight
to watch. Surviva, Kadhalaada and Thalai viduthalai gave more pleasure than the
film. Vetri’s cinematography is brilliant. The scene where Ajay fights men and
climbs the staircase, then jumps down and again goes up is brilliantly shot. The
dialogues suits to Ajith as a person, hence it receives applause. But the
conversation between hero and the villain is mundane and they lack rage (I
expected a conversation like the one between Victor and Satyadev in Yennai
Arindhal. I was turned down). So is this film a hero worship that appeals only
to his fans? Comparing to his previous films, this not such type of film too.
Comments
Post a Comment