Starring: Jiiva, Tapasee, Santhanam
Production: Vasan Visual Ventures
Director Kannan is known to deliver family entertainers and he has attempted a similar genre in Vandhaan Vendraan too with a few more ingredients as garnishing that work mostly in favor of the film.
In Vandhaan Vendraan, a product of Vaasan Visual Ventures, sibling rivalry and its ramifications form the epicenter which has been presented in a slightly different format. VV has many positives to sustain the audience’s interest but is not devoid of its foibles either. The screen play has been crafted fairly well and engages the viewer to a large extent.
The climax twist and its conceptualization are the highlight of the film which is sure to facilitate director Kannan’s entry into the list of promising film makers with potential.
Kannan’s characterization of Taapsee is good and it is refreshing to see that in VV, the heroine is not there just to color up the proceeding but has an appreciable screen space. Her practical outlook towards love is such a welcome change from the coy meek heroines we come across in most films.
There are quite a few scenes which catch your attention like the one where Jiiva and Santhanam mimic Nandha. It is also interesting to watch the sequence in which Taapsee takes the canine-fearing Jiiva through a narrow lane where a ferocious intimidating dog is waiting for them.
The wood house in Kerala and Nandha’s office in Mumbai stand out suggesting an aesthetic viewpoint. The costume designer’s work is appreciable and Taapsee’s costumes help in conveying her urban character.
Even though, VV does not provide enough fodder to showcase Jiiva’s histrionics, the actor sashays through his role quite effortlessly. VV is Taapsee’s second film in Tamil and she has utilized the opportunity to deliver it good. Her strong characterization is a plus and her natural genuine smile renders a relatable feel. Chinmayee’s voice is certainly a value addition to Taapsee’s character. Nandha as a man of grey shades is comfortable in his role and impresses with his underplay.
These days the appearance of Santhanam in the title card itself creates exhilaration and the comedian has not disappointed his fans. His scenes in the film are enjoyable and lively.
Thaman’s strains warrant mention and Anjana and Kanchanamala numbers stay with you long after you leave the theatre. But for these two numbers, other tracks impede the pace of the film. Muthiah’s camerawork is a veritable visual treat especially in the above numbers.
On the flipside, Kannan should have taken adequate care to prune a few songs that could have helped him render a taut product. Some of the action sequences seem to drag which causes restlessness in the audience. In a few occasions, the screenplay does tend to meander a little struggling to hit the right path.
When Taapsee decides to reciprocate Jiiva’s love, there is no emotion and is very flat. Nandha’s characterization is also ambiguous as he appears to sport a steely verve sometimes while in some other occasions he is shown as a man full of heart.
To sum it all, Kannan has done a fairly neat job and VV is likely to appeal to family audience as there are no cringe-worthy scenes or dialogues and the film is reasonably engaging.