"Spectacular", "beautiful", "great" – these are some of the words most used to describe a Shankar movie. Bigger is what a great audience is expecting from Shankar, nothing if he has a good story, writing written, beautiful songs, offering memorized performances. He can not afford a crowd of people in the country over the country if he does not produce his film in large scale. He is James Cameron of Indian cinema, see. We do not look for less of him than imprimetic features that we do not find in other Indian films.
Shankar as a movie maker is silently under pressure to make increasingly powerful films. Even in a political act like Mudhalvan (1999), he has a song like Mudhalvana's, where he has made a CGI universe with sensitive serpents with human faces.
What to expect when Shankar joins forces with the superman of Indian cinema, Rajinikanth? Nothing of greatness. It was what we had when the actor-director duo worked for Sivaji for 2007. The film was a regular potboiler about vigilante justice, but built on a large scale.
Rajinikanth had returned to his "cave" back to the bastard of Baba (2003), where he was physically weak and small. He returned to Chandramukhi (2005), but the filmmakers were not very successful in finding an impressive light.
In 2007, Shankar received a breakthrough of socks with Rajinikanth's makeover. It gave the public a stronger and younger rank of Rajinikanth. First, Abbas swung over the Superstar (whilst he called "What a Man?") Just exactly the way he did in Padayappa (1999). Each singer's background (marvelous by Thotta Tharani), AR Rahman's music and Shankar's experimentation in spinning vigilance jokes, all worked well in the public. Rajinikanth as Motta Boss on climate caused the audience to lose the theater with a feeling that their money in ' the value was.
Three years later Enthiran: The robot was released. In 2010 it was the toughest Indian film ever made. At first, the focus on her greatness, the money spent by Hollywood-specific effects, was starred, Aishwarya Rai's romance Rajinikanth for the first time and so on. More attention was on their logistics and less on their content.
Rewatching Enthiran on a streaming site was a different experience while eating on the big screen. I was more tolerant of the mockery of # filmmakers, the # thresholds were to develop a robot to show cognitive capabilities such as # Their love was with their master friend, so they went on interesting # 39; the movie can come: a humanoid robot wreaking havoc in the city.
Shankar takes his time to set up the stage for the main conflict to play. But, if he goes away, he holds a very entertaining pass. He has the whole movie set up with small but very memorable sections. As the scene fits into a ghetto background, there's nothing more about metal than Chitti. Or the whole action that is found on current trains.
In the second half of & # 39; The film is presented by Rajinikanth Chitti by a massive transformation. A "man", who is loved by a girl, is left by his own creator and left to die. He gets up from 'death', but he's just bad. Blind by pleasure, he kills everything that comes between him and his lady. And eventually returned to his senses with an apologist 's heart. Apart from Chitti, no other character under 'film' undergoes such a substantial transformation over the course of ' the movie. Even Dr. Vaseegaran is strongly underlined as Shankar strives to dominate two Rajinikanths in writing.
Aishwarya Rai as Sana only gets in a really dreamy song. Shankar has a businesslike painting for Aishwarya, where Kalabhavan Mani asks for her one-day friend (like the only head of Mudhalvan). And back? So that they can call their friend Vaseegaran, they're in the wheel. Shankar should work on his ideas about writing scenes for female characters.
The characters of Santhanam and Karunas are a natural phenomenon in the whole process. Danny Denzongpa 's Bohra, "the most important antagonist," is to decipher from # 39 out of & # 39; the script for crashing the story.
But we could not buy tickets to see a strong female character, a novelty murdered, and caved by comedy. Shankar knows we pay to see Chitti and when it comes to that place, Shankar has done a fixed thing. In Preclimax session, Shankar launched his fantasy with hundreds of robots that work in unison, names of anaconda, giants, and more. Rajinikanth leaves it here and pulls its inner MN Nambiar what Motta Boss does to Sivaji. It gives the public a sense of satisfaction that they have their value in value.