CAST: Suriya, Samantha, Vidyut Jamwal, Manoj Bajpai, Soori
RATING: *** 1/2
One more film on the lines of Badsha Bhai and Vishwa Bhai set against the backdrop of Mumbai underworld. Here in Anjaan, Suriya is Raju Bhai a dreaded dapper Don who commands equal amount of respect. It is high voltage revenge drama seen in umpteen numbers of films, but what makes the film work is Suriya’s stunning charisma combined with his incredible performance and glossy packaging of Lingusamy with all commercial elements including action, glam quotient, romance, friendship, humor, sentiments, vengeance in a fitting manner.
The story begins in Kanyakumari where a crutch wielding Krishna (uber cool Suriya) who boards a Mumbai bound train and goes in search of his lost brother Raju (Suriya) who is fondly address as Raju Bhai by Mumbaikars. As Krishna encounters few characters, the story goes in flashback mode which chronicles the life of Raju and his best friend and partner in crime Chandru (Vidyut Jamwal). Their arch rival is Imran Khan (Manoj Bajpai). Meanwhile, Jeeva (Samantha), daughter of the newly appointed commissioner of police falls for Raju and after few interesting escapades, the latter also reciprocates. A twist in the tale takes place when Chandru is murdered in a ghastly manner and a clueless Raju who goes in search of the killers is also trapped. How Krishna unravels the mysteries and settles scores forms the rest.
Undoubtedly, it is Suriya’s show all the way. His versatility comes handy to differentiate between the two characters. He is a treat to watch in high energy action sequences and his awesome onscreen chemistry with cute Samantha is admirable. He equally scores in emotional scenes with his subtle expressions and loud outbursts. Vidyut looks handsome and plays a pivotal role. But the duo’s endearing friendship is not established well. Thanks to Suriya , we get to watch Vidyut’s alluring action block in the flashback. Samantha is back in Tamil with a bang. Though there’s nothing much by histrionics, she oozes oodles of oomph in chic and trendy costumes which includes a blink-n-miss bikini, thanks to designer Deepali Noor. The romantic portions are neatly captured. Soori in a miniscule role does what is expected out of him. Brahmanandham’s portions are forced into the script to please Telugu audiences.
While the first half is racy and interesting, the same cannot be attributed to post interval portions. There are too many unknown faces walking in and out of each frame. Morbidity sets in at times because of too much of blood and gore which could have been cut down to some extent. Yuvan Shankar Raja’s background score is extraordinary and his songs are already chartbusters. Steer clearing from the clichéd Mumbai locations, Santhosh Sivan’s camera captures unusual visuals and his yellow DI throughout goes well with the mood of the film. Some of Brindha Sarathy’s dialogues are noteworthy. Like the one Vidyut mouths while he dies – ‘Nee En Kooda Irundha Drogathai thaan Parthirukke, Aana Viswasatthai Paarthadhillai’ and the climax line ‘Ethiriyoda Kooda Drohi Irukka Koodathu’.