Biggest is not necessarily the best. Review on Anniyan Movie

Starting from his second movie, Shankar's offerings have always been the most-awaited events of Tamil moviedom and this one is no different. Expectations are multiplied in this case as it stars the actor who has created a lot of waves in the recent years and also since this comes after an expected debacle for the director.

While the title might sound strange and curious, the story is basically a rehash of earlier Shankar movies with the flavour of psychology providing the difference. We have seen a Brahmin going against the law and a policeman on his heels in Gentleman, a social crusader in Indian and many other smaller aspects in Shankar's other ventures.

The narration starts differently, but sags towards the middle, only to pick up stream from thereon. In the time one awaits the interval, the redeeming element is Vivek's spontaneous one-liners. A few twists help in maintaining the audience's attention. Unfortunately, the titular character is not developed fully; we just see him as a gory killer with a digitised voice. All sense of logic needs to be suspended in favour of the interesting concept the movie tries to bring out. Violence, though intended to provide shock value, may not be palatable for everyone. But overall, Shankar's ability to present things from a layman's point of view will succeed in delighting the masses.

Dialogues (Sujatha) are powerful and at many places, clapworthy. In spite of taking great pains for picturisation, most songs are distracting more than relaxing. Locations and art direction are world-beating though. Needless to add, every aspect is exaggerated to a point beyond enjoyment. While the much-hyped stunt sequence borrows from Matrix Revolutions and elsewhere there are flashes of Crouching Tiger, Hidden Dragon, the final revelation scene reminds one of Me, Myself & Irene.

Vikram peaks in the latter though. Though he has put in his all into the different roles, he is restricted by the script. Undoubtedly, the most memorable of the three is the rule-abiding-and-enforcing Brahmin lawyer. Sada sleepwalks through her role, leaving no impression. Vivek provides great laughs without going overboard. Prakash Raj is wasted since his role fizzles out towards the end. A lot of known faces go without fodder for their skills.

As usual, Shankar has left no stone unturned to provide the latest technical wizardry. Special effects are superbly done. Excellent cinematography (Manikandan / Ravivarman) and editing take you on an adventurous journey. Music is average -- Rahman is sorely missed.

Shankar is also the producer of supposedly the biggest hit of the year, Kaadhal, which was made with 20 million rupees. Spending ten to fifteen times that amount (in the costliest movie ever made in the south of India) and trying to make a big-bigger-biggest movie doesn't help in bringing out the message, however big that is.