Well it’s a battle between two personalities! One is the level-headed writer keen to dissect the film without giving undue value to any department. Sounds sensible indeed! But is it easy to implement? As she sits to edit (terrific at that job) my copies, she reminds me: “don’t get influenced or carried away by the reputation of the director or the actors involved. However, I am slowly embracing the challenge and even enjoying it and that’s why my ‘mean’ friend’s argument is vital. From a bird soaring high and enjoying its freedom, I am brought down to the earth with a huge thud! As every Friday beckons, I face the challenge of switching myself into a careful observant of art from an absolute sucker for films. The moment you are identified as a critic, it becomes a different ball game. Be it getting high on our favourite directors’ works or staying loyal to our preferred actors, films, unknowingly, tip toed into our lives and became important.
We reviewers were first unconditional lovers of cinema. I am sure none of the popular names in the business of writing on films ever entered the field by wanting to be the ‘well structured and unique’ writers that they are now. Though I don’t argue about how objective I am with my analysis, I began wondering about the faces of fandom. Reviewing films is part of my job and every time I am given the latest release, my friend is quick to say: “Don’t embarrass me with a fanboy style of writing. I have a very close and a slightly ‘mean’ friend who robs off half my excitement when I decide to review a film. Yuvan Shankar Raja's music keeps up with the tempo of the film.“Don’t be a fan,” she orders. There is, however, a lot of chaos, until he decides to reveal it all at the very end. Venkat Prabhu keeps the momentum going right from the opening scene. There is plenty happening in the film, both in the first and second half.
As Shakti he is more stylish, composed but menacing, whereas as Massu he is the happy-go-lucky guy with not a care in the world. He plays the two characters very differently in terms of looks, body language and dialogue delivery. The film is undoubtedly Suriya's show all the way. Premgi, however, has sadly stopped being funny his earlier spontaneity seems to be missing. Others like the corrupt assistant commissioner Vikram (Parthiban) and industrialist RK (director Samuthirakani) add some drama in the second half. Pranitha Subhash makes a brief appearance in a flashback. There is absolutely nothing in the film for Nayanthara. He is content wooing his lady love Manini (Nayanthara), a nurse. Making a dramatic entry is a very dead Shakti, seeking vengeance for the death of his loved ones.īut Massu is in no mood to cater to anybody's demands. The film only moves to the real story almost at the end of the first half. Karunas, Sriman and several others play the ghosts in the film. There is a quite a bit of fun, with ghosts popping out from everywhere chasing after Massu. Initially, Massu misuses his power by making them terrorise innocent people and demanding money from them by pretending to drive them away.
They approach him with requests to fulfil their dying wishes. A bad road accident, in which Suriya barely manages to survive, grants him a special power.Īll of a sudden, he is able to see and communicate with dead people around him. Massu and his friend Jetli (Premgi) make a living by planning elaborate schemes, cheating bad guys and escaping with their money. Suriya essays two characters in the film, Masilamani or Massu, an ingenious conman, and a ghost called Shakti. There is non-stop excitement, with all the characters in the film being on some kind of high, literally bursting with energy.
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