Ajith who went off the radar in his last 'Aegan', is back fit and fine in 'Asal'. And perhaps to compensate the 'Aegan' disappointment, he hogs all the limelight giving audience a double delight in the movie.

Though the story is not new, it is all about style and substance and the film is loaded with rich visuals and breathtaking sequences, making it a quality outing.

When a hit pair comes together, the expectations always bound to be high. So when Ajith and director Saran, who have back to back successes under their belt ('Kadhal Mannan', 'Amarkkalam' and 'Attagasam') joined hands for 'Asal', there was an air of expectancy.

'Asal' not just rises up to that level, but also good in its own way especially because Ajith is energetic and Saran efficient. Their good vibes are evident on screen.

Sivaji Productions deserves all credit, for at a time when the film industry is facing some troubled times, a production house going all guns without anything in mind but to come out with a quality product, deserves applause.

Unlike their earlier outings, Saran and Ajith have consciously chosen not to load the movie with mass hero matters and commercial elements alone. The intelligence in 'Asal' lies in giving them in the under current as the story flows. At the same time, the film has not disappointed 'Thala' fans too as they have moments to rejoice in cinema halls.

Yuhi Sethu, who is known as a taut screenplay writer, has ensured that the script has no loose ends and there is no logical lapse. Of course, with Ajith's name as co-director, it makes one sit up and watch. The actor seems to have involved himself in the filmmaking department knowing his strength and the taste of his ardent-fans.

Jeevanathan (Ajith) is an arms dealer in France who supplies artillery only to the government. His sons are Sam (Sampath Raj), Prasad (Rajeev Krishna) and Shiva (Ajith). Sam and Prasad sideline Shiva all the time.

When the elder sons decide to strike a deal to sell weapons to a terror group, trouble breaks out. In spite of their father's resistance, they go ahead with their plans with the help of their uncle (Milind). Crossing swords with them is a Mumbai-based group led by Shetty (Kelly Dorji).

What starts from here is a battle between brothers, besides their war with the competitors. The swiftness in the screenplay begins here. It is from here the movie takes a roller-coaster ride.

There is Sara (Sameera Reddy), who works in Franch Embassy and falls for Ajith. The scene-stealer here is Sulabha (Bhavana). Her scenes especially on Valentine's Day is rip-roaring fun. Meanwhile there is Daniel Dharmaraj (Suresh) a French cop who adds twits to the tale.

Though influence of Hollywood movies like 'Payback' could not be avoided especially in the second half, one can forget the fact since 'Asal' is a rich attempt that is bright and beautiful. The conviction in narration and character establishment (except that of villains) is praiseworthy. Yuhi Sethu as Don Samosa provides lighter moment in the movie.

It's Ajith's aura all through. He brings all the necessary tricks involved to make the double role look different and also appeal to the masses. As father, he is stylish and elegant. As the son, he is committed. Though the former comes for just 15 minutes on screen, he walks away with all applause. Ajith is willing and efficient. He has a raw passion and comes out shining in the double role. He has the right nuances to differentiate the two characters. After a brief gap, one could see the actor fresh and fine in dance sequences too. He carries the story on his broad shoulders. The film’s success is mainly due to him. If 'Billa' showed him oozing all stylish, 'Asal' showcases him on roles with style and substance.

Sameera Reddy is chirpy and vivacious. Happy that Kollywood has an actress who combines glamour with performance. It's a welcome break for Bhavana. The actress understanding the responsibility on her seems to have taken the role in her stride and renders enough justice to it.

As usual, Prabhu (who is the producer too) has been breezy and impressive on his part, while the rest of the cast do have a part to play in the script.

Prashanth D Mishalae, a former associate of Nirav Shah, is simply the man of the moment. His lens has given the whole movie a fresh coat. Stylish and suave all through, the cinematography sets up the momentum. Especially those sequences in France with different tone and colour, is a revelation to Tamil cinema.

Movies on underworld or those about a don do always have some breathtaking stunt sequences and so does ‘Asal’. The stunt choreographers including William Ong, Kanal Kannan, Thalapathi Dinesh, Patrick Bruneton have done justice to opportunities provided to them.

Bharadwaj seems to have repeated the magic (if you are ready to forget the background score). The songs are pleasant to listen to. Watch out for 'Em Thandhai...' and 'Tottadoing...', they rock in the theatres.

To sum it up, Ajith, Saran and Bharadwaj have the struck the right chord again- for 'Asal' in an unpretentious entertainer. Apart from the storyline, everything seems to be original here.

Asal - Attractive

Courtesy: indiaglitz.com

Produced by Gemini Film Circuit and directed by Mitran. R. Jawahar Kutty is an average film for all. You just can’t believe the film is directed by the same man who did ‘Yaaradi Nee Mohini’.

Shriya and Sameer Dattani are in the same college and at one point Sameer Dattani coerces Shriya to love him and there enters Dhanush. Dhanush loves Shriya and Shriya loves Sameer. And it’s not a love triangle. It is also not one sided love. Yes, don’t get confused. When Shriya tries to ignore Dhanush, he offers to help her and Sameer. At the same time he also challenges Sameer to save his love and see to that Shriya doesn’t fall for him. Finally when Sameer’s politician father Radha Ravi plans to marry off Sameer to his friend’s daughter the couple run away from home and Danush brings them to his village after fighting a dozen of henchmen on the way. Suddenly Sameer disappears and Dhanush takes care of Shriya until Sameer returns after week with his father after convincing him. They all then return and at the time of marriage Shriya tells Sameer she wants only Kutty. All end there. So why on earth did Dhanush do all that what he did is the rest.

The film was touted to be a campus story but hardly have you felt it. The characters are flat without scope for anything. Even the actors look pale on screen as if the film was in the making for years. It starts off like a Mills & Boon romance but meanders to forgettable settings. Only Dhanush is good with his sense for comedy. Radha Ravi, Vincent Ashokan, Rajalakshmi and Mayilsamy are there but not there. Casting also leaves a lot to be desired. Why the sidekicks of Sameer are like some hired six-feet goons and not college mates? Gundu Arthi tries to provide some comedy at odd places. The turn of events in the film are not convincing and to some extent illogical. Also the film has a Telugu tang throughout.

It is said Kutty is a remake of Telugu film Arya which made Allu Arjun a household name overnight. But for Dhanush who is already a star in his own right this film is like a spoke in the wheel of his continuous good run. Its time to realize Tamil cinema has evolved and people have already started thinking differently long before Kutty.

Music of Devi Sri Prasad sounds improved in film than in isolation. But had the picturisation of the songs been creative they would have been even more memorable. Still Feel My Love is top. Kannu Rendum Rengaratinam which features Meghna Reddy will live a short life at least. The lyric of Thamari in Yaro En Nenjil is a relief. With a good cast and crew Mithran Jawahar should have tried something better. His earlier film was fresh and that worked. But the storytelling of Kutty is one we have been seeing for years.

The long wait is over - literally for all. Be it Selvaraghavan, Karthi, Reema Sen or the audience who were yearning for an ‘adventure’ film. Selvaraghavan, who is known for his adapt handling of mind-blowing sensitive issues (read human emotions), should be a relieved man now.

Two and half years of his hard work is out for the audience to watch and relish. But is the wait really worth? To this question, the answer is both 'yes' and 'no', for the film is a mixture of surprises and dissapointments.

A look at the film, it is evident why it has taken toll on the time. An engrossing, enthralling and entertainment was what Selvaraghavan would have planned. But he is only partially successful in his attempt, as the second half takes all the sheen away the first half provided.

In other words, the filmmaker seems to have been firm on what he wanted to do, but it did not come out with that exactly on screen. At the same time, films on such genre are a rarity in Tamil cinema. One can't spot a single movie in this genre in Kollywood before. Selvaraghavan who strives for perfection in every frame of his, seems to have taken the lead to fill the void with 'Aayirathil Oruvan'.

His shrewdness of blending the lives of common man with such complicated themes is amazing in 'Aayirathil Oruvan' too. There is no love or family or other such elements in this film.

But what is striking is that a down-to-earth coolie ( Karthi) setting out as a help to archaeologists who sets out on a mission. Quite typical to his earlier films, it is the heroine around whom the major part of the story is set and revolves.

Check out what the story of Ayirathil Oruvan is all about.

Archaelogist Lavanya (Andrea Jeremiah), Anitha (Reema Sen) and a troupe of government forces go on a voyage to an island in Vietnam to find 'some truth'. Helping them is a team of coolies led by Sukumaran (Karthi). As they cross oceans and enter forests, moments loaded with thrill, suspense and tension welcome them. At one point of time, the lead trio (Karthi, Andrea and Reema) is left alone from their team. They find an ethnic Tamil group living in the island, ruled by a king (Parthiban).

Stuck by drought and poverty, people in the place believe in black magic and practice it. As the trio is about to be killed, Reema reveals a truth. What follows is a lengthy second half, which ends abruptly. Karthi’s role seems to an extension of the one that he played in 'Paruthiveeran'. But a touch of sophistication is evident in the way his character unfolds. He instant reactions and quick response on screen is quite amazing.

He was more brawny in 'Paruthiveeran', while he is a combination of both brain and blows here. Working with two directors who are taskmasters but with different styles seems to have had a positive effect on Karthi. From Ameer to Selvaraghavan, Karthi has just got the right thing to be poured out when it comes to standing before the camera.

Reema Sen, until a glamdoll, is a revelation here. Tamil filmdom had been cruel to many actresses, whose life spans are already short. One among them is Reema Sen. Such a skilled actress pouring out various emotions seems to have been under utilized until now. Selvah manages to give her the right opportunity, which she has grabbed with both hands gleefully. As Anitha Pandian, her portrayal appeals instantly. Pouring out right emotions when needed is no easy task for a taskmaster like Selvaraghavan. But Reema is right there delivering what his master wants from her on screen.

Andrea as archaeologist excels. From a loving wife in 'Pachaikili Muthucharam' to a dynamic archeologist in 'Aayirathil Oruvan', she has come really good and quick. Her body language, mannerisms have been perfectly shaped by the filmmaker. But walking with all applause is Parthiban. Selvaraghavan conceiving such a role for Parthiban, makes one wonder the vision of the director. Parthiban seems to have been tailor-made for the role. Lending solidity to the script is his character. He is more like cricketer Rahul Dravid lending a backbone to the Indian middle order batting, in the movie.

The real ‘Ayirathil Oruvan’ is cinematographer Ramji. The tall-beard Ramji, who weaved a magic working with director Ameer before, has rendered a scintillating stuff here. His lens speaks poetry at one place and spits venom in other places.

Art direction is what lends credibility to movies on such themes. It is evident that Selvah and his team seem to have done intense research before venturing for the project. There is antiquity and authenticity in huge statues that we see in the film.

G V Prakash’s songs leave a right impact. They fit the scenes. The background score by young Prakash, though did not match the standard of Yuvanshankar Raja ( a routine in Selvah’s films), is ok.

Stunt master Rambo Rajkumar, who passed away recently, has given one of his best before his demise. His choreography of chase and stunt involving several hundred junior artistes, is a rich treat for audience especially for Tamil audience they are something new. Also the choreography by Kalyan and Shivashankar sits apt in the film.

But the eyesore is the computer graphics. It challenges all laws of physics, especially in that 'Gladiator' kind of stunt scene. In some places, one could easily spot that CG is at work, thereby taking away the credibility.

Length is another problem as the movie beats around the bush and needs an urgent trimming.

Producer Raveendran deserves special appreciation. His patience and support to come with a quality entertainer deserves special mention. A big-budgeted film with no commercial compromise reflects the right involvement of the producer.

Selvah has made us wait for a long time. Though the wait is not that fruitful, it is once a blue moon do we get such movies.

Aayirathil Oruvan - Sweet and sour