Susindran was there high on airs with the self-aggrandizing promotions about his ‘Naan Mahaan Alla’. He boasted off his film to be exceptionally unparalleled and what you experience over the screens is completely contrastive. The film doesn’t carry a substantial plot as the storyline is so tenuous and very clichéd. ‘Naan Mahaan Alla’ is nothing but an ordinary man settling scores with the baddies, who spifflicated his happiness…
Jeeva (Karthi) has a picture-perfect life. A happy family, supportive friends and a lovable girlfriend Priya (Kajal Agarwal) makes him feel like paradise-on-earth. But an unexpected twist in the tale comes through his father (Jayaprakash), who is murdered by a mysterious group. Later, it’s revealed that Jeeva’s father, a cab driver by profession was the witness to a boy and girl mysteriously murdered.
Jeeva sets out to settle the scores with the help of his friend, a goon across the coastal areas of Royapuram.
But sooner, when the things go out of control, it’s up to Jeeva to settle the scores on his own terms.
Karthi’s previous films ‘Aayirathil Oruvan’ and ‘Paiyaa’ share the same similarities of first half being brimmed with fun and romance while the second hour travels on action. In all likelihood, this film too follows the same pattern.
The prologue appearing before the title credits distinctly depicts what this film is all about. The first half has some interesting parts as Karthi evokes laughter with his mannerisms. His casualness over performing such acts wins the applause. His way of proposing Kajal Agarwal at the first meeting is over the top. Watch out for his breathtaking stunt sequence during climax. Although, the stunts choreographed by Anal Arasu faintly reminiscences ‘Renigunta’, they’re just overpowering.
Susindran’s debut directorial ‘Vennila Kabadi Kulu’ had an excellent screenplay as it could pull the audiences’ interests throughout the show. Nonetheless, he fails to come up with similar efforts in this film. He had reported this film to be based on increasing crime-rates in Chennai. Neither do we find such things, which is a complete disappointment. A good research over the crime reports in Chennai would have yielded him better results. How could 4 youngsters easily bump off the Chennai’s leading Goon & Co within short span of time? The friends are known for their cruelness and at the same time are shown lamenting over the pal’s death. It’s out and most ridiculous. Kajal Agarwal appears for the romantic portions and she hasn’t got anything to do with the film. Jayaprakash as Karthi’s father is appreciable while art director Rajeevan spotted as police officer is ludicrous. The violence factors are found in abundance and Susindran could have avoided showing such harshness.
Musical score by Yuvan Shankar Raja is okay. The film just has three songs and ‘Iragai Pole’ is a stunning number. Cinematography by Mathi is average as he tries to capture the shots by adjusting contrasts and tones. Editing is sleek and stylish. Dialogues are finely done; especially the comedy liners are enjoyable.
On the whole, ‘Naan Mahaan Alla’ is an average fare and if you watch it out any expectations, there isn’t anything that gratifies you. Karthi has to make sure, he chooses a better script like his elder brother Suriya while for Susindran, its better if he keeps himself limited to nativity based scripts and not to unnecessarily involve himself with subjects far above his head.
Jeeva (Karthi) has a picture-perfect life. A happy family, supportive friends and a lovable girlfriend Priya (Kajal Agarwal) makes him feel like paradise-on-earth. But an unexpected twist in the tale comes through his father (Jayaprakash), who is murdered by a mysterious group. Later, it’s revealed that Jeeva’s father, a cab driver by profession was the witness to a boy and girl mysteriously murdered.
Jeeva sets out to settle the scores with the help of his friend, a goon across the coastal areas of Royapuram.
But sooner, when the things go out of control, it’s up to Jeeva to settle the scores on his own terms.
Karthi’s previous films ‘Aayirathil Oruvan’ and ‘Paiyaa’ share the same similarities of first half being brimmed with fun and romance while the second hour travels on action. In all likelihood, this film too follows the same pattern.
The prologue appearing before the title credits distinctly depicts what this film is all about. The first half has some interesting parts as Karthi evokes laughter with his mannerisms. His casualness over performing such acts wins the applause. His way of proposing Kajal Agarwal at the first meeting is over the top. Watch out for his breathtaking stunt sequence during climax. Although, the stunts choreographed by Anal Arasu faintly reminiscences ‘Renigunta’, they’re just overpowering.
Susindran’s debut directorial ‘Vennila Kabadi Kulu’ had an excellent screenplay as it could pull the audiences’ interests throughout the show. Nonetheless, he fails to come up with similar efforts in this film. He had reported this film to be based on increasing crime-rates in Chennai. Neither do we find such things, which is a complete disappointment. A good research over the crime reports in Chennai would have yielded him better results. How could 4 youngsters easily bump off the Chennai’s leading Goon & Co within short span of time? The friends are known for their cruelness and at the same time are shown lamenting over the pal’s death. It’s out and most ridiculous. Kajal Agarwal appears for the romantic portions and she hasn’t got anything to do with the film. Jayaprakash as Karthi’s father is appreciable while art director Rajeevan spotted as police officer is ludicrous. The violence factors are found in abundance and Susindran could have avoided showing such harshness.
Musical score by Yuvan Shankar Raja is okay. The film just has three songs and ‘Iragai Pole’ is a stunning number. Cinematography by Mathi is average as he tries to capture the shots by adjusting contrasts and tones. Editing is sleek and stylish. Dialogues are finely done; especially the comedy liners are enjoyable.
On the whole, ‘Naan Mahaan Alla’ is an average fare and if you watch it out any expectations, there isn’t anything that gratifies you. Karthi has to make sure, he chooses a better script like his elder brother Suriya while for Susindran, its better if he keeps himself limited to nativity based scripts and not to unnecessarily involve himself with subjects far above his head.
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