3 / 4 STARS
DIRECTOR: SARAN
ACTOR: MANOJ
ACTRESSES: RICHAA BALLOT, PRIETY VIJAYAKUMAR
MUSIC DIRECTOR: A.R. RAHMAN
STORYLINE:
Arivu (Manoj) is a rowdy, all strings attached. He acts that way in response to his neglect-filled childhood; he does everything possible to humiliate his father. He even goes so far as being willing to marry a bride named Savithri (Richaa Ballot) at a wedding when the groom doesn't show up. The wedding never happens, though, because Savithri runs away after the groom switch. After the wedding, Arivu leaves home to live with "Malaysia" Vasudevan, Charlie, Dhamu, and Vayapuri at an abandoned police station.
Then, Savithri shows up first at Arivu's house, and then later at the police station. She stays with them there for an unspecified time period that runs into the months. It is here that it is revealed that she has a sad flashback, involving Priety Vijayakumar and Karan, and a back-story about that ill-fated wedding. Arivu slowly starts to fall in love with Savithri, and when he finally expresses his love to her, she tells him she doesn't love him.
The end of the movie has a twist which I will not detail here.
COMMENTS:
Saran called "Alli Arjuna" his best movie to date. Reviewers said on the other hand it was his worst movie to date. I happen to believe Saran is more right. Either "Amarkkalam" (for the sheer entertainment value) or "Alli Arjuna" (for that excellent twist and the theme) is his best movie.
"Alli Arjuna" doesn't even feel like a Saran movie to me. Saran movies have great villains (missing in "Alli Arjuna") and badly done endings (also missing in "Alli Arjuna"). In fact, "Alli Arjuna"'s ending (while not entirely unexpected) is very cleverly done, and the direction in the final scenes shows a directorial style that Saran has not exhibited to date. In fact, it is the great ending that made me knock up the movie from a 2.5 / 4 to a 3 / 4.
I think that other reviewers happen to be reviewing Manoj as a hero rather than the plot and the execution. But you know what, this is the kind of movie I would have absolutely hated to have a Vijay or a Prasanth in the lead for -- not that they would have done this role. And Manoj is good in this role. He's not handsome, but the role does not require that.
The first hour of this movie is very funny, somewhat implausible, but cleverly executed. The second hour drags, and makes the viewer lose interest somewhat. But the last half-hour of the movie -- unexpected, and oh-so-different from the norm) makes me think the viewing experience is completely worth it.
The only drawback to the movie in character choice is Richaa Ballot. She's not particularly attractive, and she so far has exhibited the acting skill of a brick.
A big highlight of the movie, other than the ending, is the comedy. The comedy is flat-out hilarious in several segments, whether it's from the antics of Dhamu, Charlie, and Vayapuri, or from the liquor lord who happens to think the police station is still in operation. Every comedy scene in this movie is golden.
SPOILER COMMENTS:
(Read this only if you've seen the movie!)
Why is the ending so good? I'll tell you, the rest of the movie is pretty mediocre, and would've merited a 2.5 / 4, but this ending brings the whole thing up. Why?
One -- it's different. You don't have heroes portrayed like this except in dumb Satyaraj movies. When Manoj is a rowdy, he is a rowdy. He does not have a soft spot for mother sentiment, he never brings up his childhood in tearful soliloquies, and he is every inch a rowdy.
Two -- the theme is good. Eve-teasing is the theme, and it's been handled in a way never handled before. When Manoj is lying on the ground, bleeding, and covered with kerosene, a burnt woman with a match hovering above him, he acts wonderfully. Saran's direction is also brilliant and polished in this scene. Karan also does a remarkable job in this scene. It's a believable understandable plausible scene.
Three -- there's no happy ending. Saran realizes that there could be no happy ending in a movie like this; to do that would be to soil his message. HE DOESN'T RUIN HIS MOVIE FOR COMMERCIAL CONSIDERATIONS, and even greats like Kamal Haasan ("Aalavandhaan" comes crushingly to mind) have fallen to that impulse more than once. This makes Saran one of the few young directors in Kollywood I am proud to have in Tamil cinema. (Another is K. Bala).
Good ending. Period.
NOTE ON THE MUSIC:
A.R. Rahman refurbishes some old Hindi songs, but they go very well with the movie. "Osaka Muraiya" is good with the movie, and "Enthan Nenjil" is good with the movie. The picturisation of every song is wonderfully done, making me wonder if Saran is a Maniratnam in the making.
RECOMMENDATION:
Watch it in the theaters, people. Most of you will hate me for telling you that, but hey, most of you already hate me for denouncing movies like "Thenaali" and "Mudhalvan."
VIJAY VANNIARAJAN