Director: CV Kumar
Cast: Sundeep Kishan, Lavanya Tripathi, Daniel Balaji, Jackie Shroff
New-age producer CV Kumar, known for picking up quirky scripts with solid content that had introduced many young talents has now tried his hands in direction with this serial murder sci-fi thriller 'Maayavan'.
The film begins in 2037, where we see a bedridden old man with a classic Ilayaraja’s number playing in the background.
Cut to present, police inspector Kumaran (Sundeep Kishan) who while chasing a petty thief witnesses a ghastly murder of a lady committed by a man (Dheena). While in the process of apprehending the murderer, Kumaran is hurt severely and the former is also killed. Kumaran was asked to take psychological treatment to get over the trauma and despite psychiatrist Athirai’s (Lavanya Tripathi) advise, he joins duty only to view yet another murder of actress Vimsha (Akshara Gowda) in the same modus operandi with the suspicion needle pointing towards her makeup-man Gopi (Mime Gopi). Apparently, when Kumaran finds a similarity between the first assassin and Gopi, he tries to nab the latter, but he commits suicide by jumping off a terrace. A couple of murders take place and Rudhran (Daniel Balaji) – a self styled motivational speaker – comes into the fore. Naturally, the police suspect him in connection with these murders. But the investigations leads to startling revelations of the real 'Maayavan' with bigger players involved.
Sundeep plays the role of a disturbed cop effectively and shines all through. He is slowly turning into a bankable commercial hero in Tamil cinema. Lavanya Tripathi who appears in a brief role is just about adequate. Daniel Balaji who fits the role to a T does a commendable job and his stylish looks appeal. The much-hyped Jackie Shroff role did not make any impact. Bhagavathi Perumal plays his part well.
The major plus of the movie is Kumar’s solid story with a futuristic concept. Although Nalan Kumarasamy’s dialogues and screenplay help to create the right mood, we miss something in his writing. Ghibran’s music elevates the movie a notch, so also Gopi Amarnath’s cinematography. Right from the get-go, the suspense and whodunit pace is maintained but one wonders if the core complex theme would be understood by aam aadhmi. Why that prelude scene in 2037?
All said and done, it is a good attempt by Kumar and is worth a watch!...