Maattrraan brings together the tested hit combination of director K V Anand and Suriya once again after Ayan. Touted to be the first Indian film to use performance capture technology, Maattrraan centers on conjoined twins as a basic arc but delves more on the adverse effects of genetic engineering when man starts thinking himself to be God.  

Anand’s previous films have established him as a mainstream movie maker with a lucid understanding of the semiotics of commercial film making that entertains and educates the audience to certain extent.

To hook the contemporary attention-scant viewer to the screen for an extended period is an uphill task and Anand succeeds in this domain fairly well. Good looking and efficient cast, rich and grandeur visuals, pleasing music, energetic stunts, an interesting premise and an able direction help him in this endeavor.

Interestingly for Suriya this is his second film on the subject of genetic engineering immediately after 7aum Arivu. Whether it is a restrained reaction or a cheerful retort, this hardworking actor delivers it with consummate ease. As the flamboyant Agilan or the grey matter rich Vimalan, Suriya brings out the necessary dichotomy quite well, very typical of him. His sincerity and dedication is palpable in every frame. Be it the action sequences or the romantic frames, Suirya crafts a niche performance.

Kajal Agarwal has a significant role to play too and she pulls it off successfully. Chinmayee has dubbed for Kajal and the fact that the former can speak good Russian helps the character appreciably. However, even during serious scenes, the lady seems to be having a cheerful disposition! Sachin Kadekar has a meaty role next only to the hero and he gets his acts right with his fine portrayal as a maverick scientist. Tara who featured as Karthik’s little sister in Agni Natchathiram is Suriya’s mom in Maattrraan and the lady fits her role perfectly.

One of the major highlights of the film is its VFX. Helmed by Srinivas Mohan of Endhiran fame, the VFX team has worked hard and it is evident in all the frames that feature the conjoined twins. The action sequence at the roller coaster ride is the best example where all the departments like the camera, stunt, VFX and Suriya have worked in epic tandem and the result is brilliant. Editing plays a crucial role in such visual effects intensive movies and editor Antony has done complete justice to his craft.    

Cinematographer Soundarrajan creates a huge canvas in song sequences in the Nani Koni number and fills it with rich and spectacular sights. The splendor of Norway is breathtaking in this song. In all, the film looks rich and grandeur, thanks to Soundarrajan’s angles and lighting. Scintillating songs and good RR of Harris Jeyaraj enhance the appeal.  Kaal Mulaithe Poove is a visual and an aural delight. Other tracks are also humworthy.

It is apparent that stunt master Peter Hein has worked over time to get the appropriate effect more so when the scene involves conjoined twin. However the scene in the forest towards the climax is a long drawn affair and could have been trimmed.

The concept of genetic engineering and especially baby designing is new to Tamil cinema (or even to Indian cinema?) and Anand has packaged this concept interestingly. Humor does not course through the films’ veins but the scene at the theatre when the impish Suirya teaches a few lessons on romance to the somber Suriya provides light moments.

KV Anand has managed to make the script pacy. However at 2 hours and 48 minutes, the movie still feels a tad lengthy. This could have been reduced.

There is a pattern in K V Anand’s films. There is a definite social message which he masquerades with commercial components and packages it interestingly. Maattrraan also follows the route and it delivers what it promises- a rich and stylish entertainer with an interesting story.

Verdict: A rich and grandiose entertainer