ANNIYAN - MOST WELCOME. Review on Anniyan Movie

What a movie?!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! If you wanna me to write a review, I would need atleast 8000000 character limit, which mouthshut.com does not provide. So I will just precisely record my feelings after watching Anniyan.

Peter Hyne is unanimously declared the stunt choreographer of this year. You need not look further. The action sequence at the Martial Arts Academy and the fight sequence when Anniyan emerges out of Ambi to save himself are simply out of the world.

No one could have played Ambi, Anniyan and Remo and make it look that easy as Vikram. This is yet another testimonial for Vikram’s superior credentials. His body language in these three different personalities was excellent. His experience as a dubbing artist comes to the fore when he easily changes his tone to suit Remo, Anniyan and Ambi.

It was nice to see Vivek back in his prime form. The “KalaiMamaMani”, “Perfect Indian” and “Mundhiri Pakoda” were the pick of his generous rib tickling moments. Prakashraj has got into the habit of excelling in any character and Anniyan is no big exception. Nedumudi Venu, Nasser, Kalabhavan Mani, Charlie and all other supporting cast excel in their cameos.

Her confusing characterization (at the climax) does not stop Sadha from looking great and acting good. Kanika’s (original Iyengar) voice neatly harmonized with the character. Overall slender Sadha does make an impact.

I ardently try to watch the titles (credits) that follow every movie. I have never seen such a long list of titles following any movie. The list had many new terms like “Folly Sound” “FX Editing” and many such areas. That speaks for the scale of technical inputs provided by Shankar. All credits to each and everyone of Shankar’s crew. It was too much a treat with many times 2 eyes and 2 ears just not 2 much.

In Shankar’s movie, people wait for yelling out when the names Shankar and Rehman appear. For a ruthless Rehmaniac like me the silence when Harris Jeyaraj’s name appears on the screen was music to the ears. Similarly I didn’t expect a good amount of crowd to walk out when “Iyengar Veetu” was played. This is a rarity in Shankar’s movie. Though views are non uniform on song composition of Harris Jeyaraj, you have to give him a standing ovation for his BGMs. All the same, I would have preferred ARR.

He wants to paint villages, tar roads, ambassador cars, lorries and what not. He wants to include Matrix and other visual effects for unimaginable sequences. He wants to assemble the big shots of Carnatic Music for an exact replica of Thiruvayaaru. And most importantly he gets them all done with the least margin of error. For any producer, Shankar is a cruel director. That Oscar Ravichandran has not made any fuss and spent nearly 25 crores is praiseworthy.

He may have forgotten Ramyakrishnan. He may have carelessly lost his mobile phones. He may breath a heavy sigh on attaining his second childhood. But there is no beating Sujatha when he is with his pen. Like in Indian, Mudhalvan and Boys, his dialogues are razor sharp. The climax sequence when Ambi and Anniyan talk very simultaneously is a wild one. The sequence where Anniyan goes public and has a go at the reporters was another consciousness pricking effort.

Ravivarman and Manikandan have done a great job behind the lens. The murder of Cochin Hanifa is a visual delight (from the technical point of view). The beauty of the picturesque locales of “Kumari” song still stays in your eyes.

Be it “Kannum Kannum Nokia” or “Iyengar Veetu”, Sabu Cyril scores you with his scintillating sets. The stadium where Anniyan reveals his form is another piece of huigh quality workmanship.

Vijayan’s job was the most taskful of all. I am sure he did the best he could (my friends disagree) keeping in mind the impact that Shankar planned to create. Good Job, VT Sir

In Muthalvan, it was the case of education deprived from the needy for financial reasons. In Indian, he took upon high handed corruption of officials. In Mudhalvan, he called out for a strict, sincere and innovative governance. This time he targets the people and their lethargy to stick on with the rules. If you have something called conscience, it would have pricked you at many a scenes. Shankar’s social consciousness deserves a huge round of applause.

He entered into the Tamil movie Scene as a loveable GENTLEMAN. Very soon, he was a KATHALAN for the masses. Then he established himself as an impressive INDIAN. He took time to fashion out with JEANS only to return strongly as MUTHALVAN. He surprised one and all by joining the league of BOYS. Now he has proved that he is an ANNIYAN. He does not belong to the average Kollywood. He is definitely a material for the bigger league. It is a typical Shankar movie excellent, extravagant and enjoyable.

If you are going expecting a miracle, you would not come at least without a surprise. ANNIYAN is a presentation of an ANGRY INDIAN who wants to ANNIHILIATE the country from its radical problems. We have accepted foreign coaches, foreign leaders and foreign investment. I think there will be no problem in accepting this FOREIGNER (ANNIYAN).

Even as I walked out of the theatre, I could hear a few stupid voices “Only the Last 20 minutes” “ Chandramukhi was better” “23 Crores for such a story” “It will take us 5 years to reach his class”. I was disgusted. The most important thing about us Indians is our patronization of mediocrity. Add that to our social sins. https://anniyan.com – Her I come.