MOVIE REVIEWS

Raavan- Last in ManiRatnam's Best Showcase

Raavanan is not Mani Ratnam’s attempt to venerate the epic villain whose name the movie is titled after. It’s not also a study on complex human relationships weighed down by trust, conviction or quandary. It’s a pure cinematic retreat spanning across the dense jungles of Southern and Central India with exceptional cinematography (Santosh Sivan) and Raavanan(Manikandan), by-now cult songs (A R Rahman) and interesting performances by its lead actors. And the significance of the movie appears in the same order mentioned above.
Mani’s conviction of illustrating an unachievable love story between the two leads (Aishwarya Rai and Vikram) is palpable from the very start of the movie. However, the blossoming of love doesn’t quite form the back bone of Raavanan so much. The movie digresses into other aspects - a man hunt, flash backs, revenge drama and so on and so forth. The man hunts lack dexterity, the revenge drama that is triggered by the death of Vikram’s sister seems engineered and Prithviraj often comes across as stiff – showing unnecessary tautness in the character that is probably designed to defy emotions (may be because he is in his Khakis?).
The major plus is the actors – Vikram, Aishwarya Rai, Prithviraj, Prabhu and Karthik are very good and keep us engrossed, but the story and screenplay by Mani Ratnam and Suhasini are a big let down.
The story is wafer thin and Mani has based it pretty much on Ramayan, with a cop, and the Robin Hood story set in a forest with some twists and subplots.
Veera (Vikram), a Robin Hood-like guy also known as Raavanan, and his elder brother Singam (Prabhu) live in a tribal village somewhere near Ambasamudram in Tiruneveli. They mete out instant justice and run Kattapanchayat, but are loved, respected and feared by the locals.
Dev (Prithviraj), the Ram character is the Superintendent of Police. He is on the hunt with other cops and a forest guard (Karthik), a new age Hanuman, for Raavanan, who has taken his wife Ragini (Aishwarya Rai,) the modern day Sita, as hostage.
Veera has a personal score to settle with Dev and the cops whom he believe is responsible for his sister Vennila’s (Priyamani) custodial rape and subsequent suicide.
Meanwhile, Ragini, who initially abhors Veera and thinks he is a brutal beast, later discovers that her ‘God like’ husband is no saint and has dark shades in his character, too.
Technically speaking, Editor Srikar Prasad has sharp scissors. The screenplay in the first half, though nothing has been conveyed and is an utter waste of film reels, his editing is near precision. Stunts and bomb work by Peter Heines and Shyam Kaushal deserve appreciation and so is art director Sameer’s work, given the fact that most of the movie was shot in and around water. The tribal village, the police camp, a bridge and a marriage set were simply amazing and he would be one technician to make note of. But there is one man who will be applauded for his work (perhaps the only respite in the movie) is Santosh Sivan’s camera work! Mani’s movies always have natural lighting and Santosh has used it to good effect. Green pastures, water falls, rivers, trees, and all that nature can offer in a forest are radiantly shown. Hats of Santosh, you’ve done a splendid job! Winding up this section, A R Rahman’s music is classy. His tribal beats merge with the movie’s theme. His rerecording could have been better but nevertheless, a great show!
Prithviraj is the ideal foil for Vikram, and is good, especially in the final subtle showdown with Aishwarya. Priyamani does her best in her cameo appearance, while Prabhu and Karthik are hilarious and make a mark.
Aishwarya Rai’s semblance of the late Padmini is unmistakable, it could be her dialogues or the way she manages her composure attentively even in the hardest of terrains the character puts her through. The lady sure has attempted to reach on par with Vikram in performance in many sequences. Kudos to Mani for a dignified portrayal of his lead woman. There is a refreshing strength in Ragini’s character brought out well by Aishwarya. Prithvi plays a toughie police officer and somehow his character portrayal leaves a few questions unanswered: for instance, his love for Aishwarya Rai is weighed down by his commitment and that singular fact does not come across convincingly. Priyamani plays the ill-fated Vennila and leaves a lump in your throat. Karthik in his second innings steals the show. Prabhu and Munna play support roles that ebb and flow with the movie.
The list of minuses is being reduced with a lot of deliberation. Mani Ratnam has pictured beautiful movies in the past. ‘Raavanan’ was termed his magnum opus, etc but sorry it didn’t seem like one. The screenplay was a let down with only few scenes showing his directing supremacy. The last 10 minutes are the best part of this 2 hours 7 minutes film. Mani Ratnam is better off doing straight Tamil ventures than making such hybrid variety films that fall between two stools.
In One Liner Verdict, its never a best in compare with previous Mani Ratnam's flicks, but WATCHABLE and feel Chiyaan-Mani veteran combo !!