RAJATHANDHIRAM MOVIE REVIEW

When films are made to narrate a story, establish a setting, detail an emotion and also make money apart from attempting to entertain, the product will stand out. It is not about who comes up with a novel story but is about who makes it first.

 

Falling on the similar lines of Soodhu Kavvum, Moodar Koodam and the recent Sathuranga Vettai, Rajathandhiram is a heist film directed by debutant A. G Amid. (Music director Ghibran's brother). It is a highly original product that is sure to get its applause.

 

Rather than taking up the traditional or the tried and tested patterns of making a film, the director has gone by his guts and belief on the audience to narrate a story. Amid is definitely a welcome addition to the film fraternity. When the intention is to audio-visually explain an incident or an imaginary story, Rajathandhiram outwits you every time and makes you vest thoughts and emotions on what's happening on the screen. Least bothered about the universal appeal the story might possess, Rajathandhiram is that real-deal, authentic con-film. The rule is to have constantly progressing predicaments, guessing game on who the antagonist is, twists/turns and the unpredictable climax.

 

From a Schizophrenic killer in Nadunissi Naaygal to a smarty, Veera impresses with his uncanny looks and deep voice. He has this ability to not see acting as a process, and sure is a great potential talent. The famous percussionist Darbuka Siva plays the essential comedian and pulls it off with ease and comfort. From a cute sister in Kanda Naal Mudhal to a really matured artist in Rajathandhiram, Regina Cassandra has finally made it in Tamil. Though a cliché, her role of an Anglo-Indian has got the importance and her presence is felt. Newcomer Ajai Prasath delivers right and seasoned artists like Ilavarasu and Aadukalam Naren prove to be the best bet, again. Star director Vishnuvardhan's father, producer Pattiyal K Shekar gets to etch a brilliantly written character. 

 

Kathir's high contrast and grammar elevating shot divisions are a boon to the film. A circular camera movement from a car is either the director's vision or the rig-operator’s novelty. Thanks to the sound-design and art-direction, Rajathandhiram is real and rich. Also special credits to the poster designs and the DI team for the neat work. Sandeep Chowta's BGM saves the dialogue and plot driven narration from dips and duds. Praveen Antony's cuts set a pace to the film and do add a new flavor. To have just one song and not bow down to generic commercial demands is a praiseworthy aspect indeed. Kudos to the producers.

 

The flash back in the second half, a little cliched, should have been shorter than what it was. Apart from the elements like the central character being the smartest, the usual stigma associated to a villain and misinterpreting characters, Rajathandhiram is that game of chess between two Grandmasters. It requires patience, intellectual competence and the spatial knowledge of creating a scenario and responding to it. Pay attention to the proceedings of the story and get entertained.