Director: Suraaj
Cast: Vishal, Tamannaah, Vadivelu, Soori, Jagapathy Babu
Suraaj who follows his stale template of churning out mass mindless masala films devoid of logic (and filled with crass comedy and silly romances) is at it again with Kaththi Sandai.
The film opens with a jeep chase where Tamizh Selvan (Jagapati Babu), deputy Commissioner of Police, chases a van wheeled by a criminal (Tarun Arora) as the latter tries to escape with a huge sum of black money. People and superiors appreciate Tamizh for handing over Rs 50 crores to the government. Now enters Arjun (Vishal) who falls for Divya (Tamannah) – supposedly a psychology student and sister of Tamizh.
Arjun uses self proclaimed local don Deva (Soori) as his messenger for his love. After few initial mix-ups and petering out a story about their previous birth, Arjun manages to win her heart and cut to the next scene, where the duo are in an abroad locale for a duet. Later, Arjun saves Tamizh from a predicament and the latter gives green signal for his sister’s love.
Now comes a twist at the interval block when we get to know who Arjun is and the purpose of his visit to the city. It is revealed that Arjun hatched a clever plan to loot the Rs 250 crores, which has been hidden by Tamizh.
Post interval, Arjun acts as a memory loss patient and Tamizh brings in psychiatrist Dr Bhootri (Vadivelu) to treat him and to find out the mystery behind him. After few lackluster comedy scenes, the real identity of Arjun is revealed. He was a farmer who wanted to take revenge on all the politicians and wrongdoers who deceive the welfare of his village by hoarding large sums money.
Vishal is full of energy and verve and as usual scores in the gravity defying action sequences. But the plot is wafer-thin that he couldn’t do much by way of histrionics. Tamannah does nothing except romancing the hero (with liberal skin show) in skimpy clothes during dance routines. Between Soori and Vadivelu, the former scores higher than the latter.
And the film was touted to be the return of Vadivelu, but it doesn’t help to elevate the film in any ways. Hip Hop Tamizha’s Naan Konjan Karuppu Thaan is the pick of the lot and re-recording is decent. Richard Nathan’s cinematography is crystal clear.
