Banner: Studio Green Films, Cloud Nine Productions
Production: K.E. Gnyanavel Raja, Dayanidhi Azhagiri
Actors: Karthi, Kajal Agarwal, Jaya Prakash and others
Dialogues: Bhaskar Sakthi
Music: Yuvan Shankar Raja
Editing: Kasi Viswanathan
Lyrics: Na. Muthukumar, Yuga Bharathy, Francis
Stunt: Anal Arasu
Choreography: Sabeena Khan, Baba Bhaskar
Verdict: Passable film. Can be watched once.
August 20, 2010: Director Susindran was pretty overconfident that Naan Mahaan Alla would be an exceptional flick focalizing on rapid rise of crime rates in Chennai. But, what should have been a crime thriller turns into sluggish drama with predictable narration. Hero’s act of seeking vengeances and settling scores with baddies has been the most common stories in Kollywood. In all likelihood, Naan Mahaan Alla carries such hackneyed plot and offers nothing special to the audiences.
The film revolves around Jeeva (Karthi), a freewheeling guy with no worries in life. His family members and friends keep him invigorated over the times. Jeeva comes across the gorgeous Priya (Kajal Agarwal) and falls in love at first sight and indeed impresses her. When everything is set to go on paths of happiness, Jeeva’s life is turned upside down when his father (Jayaprakash) is stabbed to death by group of strangers. What follows next is Jeeva’s mission of trapping the goons, who were responsible not alone for his father’s death, but are serial killers.
The complete first hour (80mins) has nothing to do with the journey as Susindran established the conflict merely at the point of intermission. It looks like the filmmaker wanted to keep the first half with fun, frolic and romance and the latter half with complete contrast. For sure, audiences would feel like watching two different movies due to lack of relevance. The major drawback of the film is Susindran’s amateur way of handling certain sequences. Chennai’s most raucous roughneck and his henchmen killed by youngsters are unbelievable. Maybe, they’re serial killers, but that doesn’t mean they can bump off the most dangerous hooligans just like that.
Having shot the complete film in Chennai, Susindran should have made sure there are continuities between locations in the same sequences. Watch out for the scene where Karthi chases one of the culprits. The chase starts across the lanes of housing boards near Chetpet Railway Station and ends at Perambur Railway Station (The station name can be spotted). Often showing Karthi smiling at kids is unwanted. Director Susindran established the protagonist’s kind-heartedness of buying chocolates for loan borrowers’ kid. This was more than enough to delineate him.
Looks like Karthi is slightly getting out of his ‘Paruthiveeran’ effects as he tries to emote in a different style when compared to his previous films. The actor showcases an overpowering performance during the second half. On pars, he gets along well with comical sequences. Kajal Agarwal’s characterization doesn’t boast of specialties as she plays the usual girl-to-next-door roles. Her onscreen chemistry with Karthi is extraordinary. The actress can try for some challenging roles as she possesses the talent to perform them. Jayaprakash as Karthi’s father does an excellent job. The 4 youngsters enacting the role of baddies have done a marvelous job.
Technically, the background score by Yuvan Shankar Raja is magnificent and the song ‘Iragai Pole’ is a feet-tapping number. Mathi’s cinematography is okay as he doesn’t try for innovative placements. His picturing style of songs and climax fight sequence is over the top. Editing by Kasi Viswanathan is perfect.
Basically, if you’re expecting Naan Mahaan Alla to be a serious movie with a strong storyline, you’re sure to get disappointed. It’s a time worn of script of hero putting an end to villains. The film can be watched once and it’s just an average show with few violence sequences harshly shown.
When compared to his previous films Paruthiveeran and Aayirathil Oruvan, the actor fails to get himself over the top. Karthi has to keep himself cognizant over choosing some good scripts. Having delivered a commendable showpiece Vennila Kabadi Kulu, Susindran bashes down our hopes with a flimsy tale.