‘Vamsam’: Movie Review

Vamsam’ stars debutant and chief minister Kalaignar’s grandson Arulnidhi (son of producer M.K. Tamilarasu) as hero. It’s also the second film of director Pandiraj who made everyone sit up and watch with his first film Pasanga.

‘Vamsam’: Movie Review

The combination of Pandiraj and rookie Arulnidhi had created lot of pre-release hype and expectations.  Has the film lived upto its expectations?

Check Out : Movie Gallery | Trailer  | Vamsam Song Recording Stills | Director Pandiraj Speak about 'Vamsam' | Review in Tamil

The film resembles Kamal’s ‘Thevar Magan’ which dealt with clash between people within a community. ‘Vamsam’ has its base the enmity that exists between two villages situated adjacent to each other. A village elder who would go to any extent to reinforce his community’s hold over the village and its people, a love affair between a boy and a girl from the two villages and the ensuing clashes between the communities because of the love affair.  Everything is fine but the film takes the expected turn as the narrative movies ahead.

Kishore is killed before his son Anbarasu (Arulnidhi) is born.  Anbarasu’s mother brings him up in a non-violent manner in order to ensure that he doesn’t die a violent death just like his father.  Anbarasu, a post-graduate in Botany, looks after his family’s agriculture work and falls in love with Malar (Sunania) of the adjacent village.

The village elder (Jayaprakash) develops some tussle with Malar’s father and ultimately kills him.  Anbarasu stands by justice and supports Malar’s family.  To save her family from trouble, he is forced to take justice in his hands.  The rest of the story is about how Anbarasu managed to save his love affair and his ladylove.  Whether the hero, who takes to non-violent means reluctantly, does manage to succeed or not is the suspense element.

Pandiraj, who showed so much promise in ‘Pasanga’, flatters to deceive in this film.  The script-writer in him tries to find a solution to the issue by non-violent means but the protagonist is forced to indulge in fighting (traces of Rajni’s ‘Baadshah’) just before the break for intermission.

The temple festival and the community’s rituals have been shown realistically.  The romance between the lead pair is as natural as it can get.  Sunaina’s sudden outburst of anger is convincing and doesn’t look out of place.  Pandiraj slips in his narration as he tries to balance parallel cinema and commercial cinema.  The dialogues appear to be quite intent in openly ‘appreciating’ a particular community’s lifestyle and culture.

The first half is more pacy than the second half.  The dialogues ridiculing ‘cellphone service providers’ are quite nice and tickle the viewers’ funny bones.  ‘Ganja’ Karuppu does his job admirably well.  The romance that brews between the lead pair and the way it grows has been depicted ever-so-naturally.  Some of the sequences are quite predictable, robbing those sequences of their ‘mystique’ nature.

Kishore is very good but his brief part doesn’t help the film much.  Arulnidhi delivers a natural performance sans any dramatics.  Arulnidhi, an aspirant commercial cinema hero, typically tries his hand in romance, comedy and action.  He would thrive if he’s offered a challenging role in future films.

Sunaina, in paavadai-dhaavani costume, impresses as a simple village girl.  She has delivered a neat performance in her speech, smile, romance, anger and other emotional outbursts.  Anupama, who plays Arulnidhi’s mother, has done a very good job.  Kishore impresses as he always does.  Jayaparakash’s body language, especially in sequences where he needs to show his enmity, are very good indeed.

Tajnoor, the debutant music director, fails to impress with his songs but scores heavily in background score.  Cinematography by Mahesh Muthusawmy fits the script well as he cans the typically serene village beauty well in most sequences.

Had Pandiraj gone for a fresh story, Vamsam film could have been appreciated more.

Published On : Aug 16, 2010

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