There are very few scenes that are flatly staged. He takes his own time to establish the characters and how the crimes happen before introducing Ajith Kumar. Vinoth's clarity and sense of direction stands out big time, and that can be seen in the screenplay. The biggest risk that director H Vinoth has taken here is that he has created a socially responsible cop who understands perfectly, the socio-economic reasons behind the crimes.
They will be portrayed as people who have the power to do anything and everything, and that would also fit the commercial cop film genre. Whenever we see a cop film in Tamil Cinema, there is a sense of superheroism attached with the lead cop. When a gang of bikers wreak havoc in Chennai, snatching chains and killing people mercilessly, it is upon Arjun's shoulders to save the city and find the root cause for all this. He is someone who doesn't believe in custodial violence or encounters, and roots for reforming criminals. The film has music by Yuvan Shankar Raja, and cinematography by Nirav Shah.Ījith Kumar plays the role of Arjun Kumar IPS, a police officer touted as a people's cop. The film has Ajith Kumar and Kartikeya Gummakonda in the lead roles while Huma Qureshi, Sumithra, Achuth Kumar, Selva GM Sundar, Chaitra Reddy, Pearle Maaney and others play crucial supporting roles. The obsession to recapture the spirit of the old Mohanlal films is also quite evident here, but such unoriginal mashups are a disservice to the actor, who still can be used in much better ways in the commercial mass entertainer format itself.Valimai is a film written and directed by H Vinoth, and produced by Boney Kapoor under the banner Bayview Projects LLP. The scriptwriter and the director seem to expect of the audience such a level of wide-eyed admiration of the star, for there is nothing else for the film to bank on. ‘Aarattu’ has quite a number of scenes where the entire village crowds around Gopan in admiration. Even for the most ardent admirer of A.R.Rahman’s music, the musician’s cameo appearance and concert performance, would come as a disappointment, thanks to the way it is portrayed. The scriptwriter even forgets some of them, as towards the end, he is concentrating on delivering some ‘twists’ and a done-to-death background story, which only manage to take the film further down. An extended tiff with Anjali (Shraddha Srinath), an upright RDO, and a gang of four youngsters, who resist his moves, are also weaved in, but none of these characters have any kind of depth to them. The thin plot line appears to be an excuse for a celebration of the star from every angle possible. But Gopan seems to have other intentions. Through wheeler-dealers, he comes into contact with Neyyatinkara Gopan, to whom he leases the land, in an attempt to fill it up and prevent cultivation.
He wants to appear to be making fun of these superstar cliches, even while using the same things to further the unimaginative plot.Īt the centre of the plot is Edathala Mathai (Vijayaraghavan) who lords over Muthalakotta village, and wants to prevent the Government from taking control of his large swathes of land for cultivation. Screenwriter Udaykrishna’s trick here is to portray some of these references to Lal’s films as spoofs, even while raining upon us cliche after cliche throughout the entire film. ‘Aaraattu’ also chooses the easy route chosen by some recent superstar films in drawing on the star’s earlier films, and using their nostalgic value to satisfy the die-hard fans. Yet the same spirit does not translate into creating something that is original. Director B.Unnikrishnan is unapologetic in what he has set out to do, which is a good thing, for we do need commercial mass entertainers.
The worst of it comes in a scene involving Indrans, playing a paralysed man, with Gopan breaking into the song ‘Thamarappoovvil Vaazhum’ from ‘Chandralekha’, in a reference that spoils the memory of the original with its absurd attempt at comedy. In some sequences, like when Neyyatinkara Gopan (Mohanlal) visits an old ‘tharavadu’, the references come so thick and fast, that it is hard to keep up. For the script is replete with those, with a few landing well and a majority falling flat. Counting the number of references that are made in ‘Aaraattu’ to Mohanlal’s previous films can be an engaging activity to indulge in while sitting through the almost three hours of all-round star worship.
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