KOMBAN MOVIE REVIEW

After Kutti Puli, director Muthiah returns with one more rural flick that has its fulcrum around the love-hate relationship between an old man, Muthiah (Raj Kiran) and his hot blooded son-in-law, Komban (Karthi).

 

In the middle of this relationship, you have warring groups in the villages that have scores to settle with different people with diverse motives and intentions. Komban is basically a story that interweaves all these characters, incidents and emotions to roll out a product that is high in action. 

 

Casting of Komban is perfect with every actor fitting perfectly with their character. A much beefed up Karthi with a handlebar moustache, ever tied up dhoti and angry looks is the perfect picturization of Kombaiya Pandian. He lights up the frame whenever he is around and is the major strength of the film. As an actor, this movie is a good follow up for his previous outing, Madras. 

 

Raj Kiran as the understanding, matured but anxious dad is dignified. His interactions with his son-in-law Karthi and the hurt in his eyes every time Karthi mocks or insults him, simply state what a seasoned artist he is. 

 

Thambi Ramiah repeats his act of a maternal uncle in Komban too and is present with Karthi in most frames. Kovai Sarala brings to table her immense years of experience. As Pazhani, Lakshmi Menon’s characterization is strong and the young girl brings out the nuances of her role well. Karunas in Komban is serious and does not take charge of humor. Super Subbarayan as Gundan is menacing enough. 

 

The religious traditions of Ramnad and the neighboring places are recorded in the climax. The stunt sequence inside the prison is also a highlight of the movie. 

 

If there is anyone in the film who has worked overtime, it has to be Dileep Subbarayan, the fight master, as the film constantly and at periodic intervals is dotted with action sequences and there is always someone indulging in vigorous gravity defying stunts.

 

Technically cinematographer Velraj has chosen to light up most of his frames in golden sepia tone and he also makes a short cameo. He captures Karthi and the stunt sequences in all grandeur. G V Prakash makes his presence felt with Karuppu Nerathazhagi number. His music during the climax is high voltage.     

 

The problem with Komban is that we have seen such rural rage a lot before. The stunts also get one too many. 

 

However, bond between a father-in-law and his son-in-law is relatively untried and this has been quite decently handled by Muthiah.