The best thing about the film is its racy presentation and unpredictable twists and turns which comes at regular intervals till the last scene. Thank God, there is no introduction scene, punchlines or mass kuthu numbers for the hero that deviate your attention.
The film is all about the extent people will go to, driven by a greed for power and thirst for revenge. The film’s first half is immensely engaging, the various machinations making for thrilling entertainment.
Verdict: Good, go for it!
Vijay Antony has once again chosen a script which suits him. That said, an attempt to showcase him as a ‘hero’ at times should have been avoided and let his character behave for itself. His track with Miya George seems unconvincing in a few occasions and look forcefully incorporated into the otherwise decent plot. With a slew of characters, one of the positive factors of Yaman, is its neatly etched characters.
Overall, a little more pace, doing away a duet song which appears in the second half which makes audience yawn and slight tone down of heroism would have worked wonders.
It could be agreed that Vijay Antony has played to his strength and has given a good performance. From nobody to somebody in politics, his rise has been brought out well. Ace Thiagarajan as Karunakaran, the manipulative mastermind in politics has given a laudable performance and proves his versatility.
Though the BGM goes well with the mood of the film, Antony’s songs are a big downer. Jeeva Shankar’s cinematography is decent. The movie moves at a slow pace and an urgent trimming is needed.
At times like these when the world is wracked by terror and violence, Tamil cinema goes merrymaking with sickle dance and bloodshed. And not just this, the fight sequences are set to music – with drums and other instruments freely used – and choreographed in a way to convey that end is paramount, whichever be the road to it.
If plot novelty takes a beating here, the writing is poor and scripting poorer with Shankar turning Tamizharasan literally into a Yaman, whose dance of death smacks of eeriness and unexplained evil.
There is zero chemistry between them, and Antony looks visibly ill at ease as the lover-boy.
What helps the film is the focus on mind games. Most chases and action sequences are crisp while more emphasis is laid on counter-strategies. Only the songs liberate the audience from political tension. Miya George plays Vijay Antony’s love interest as actor Anjana a.k.a Ahalya. Although the track distracts from the story, the storyteller makes amends soon.
Vijay Antony’s background score does the job where the songs don’t. The film’s release timing is apt in the country’s politically active scenario.