Even if the script goes wayward, has visible loopholes, or can’t be saved from a fire, he’d be happy to work with what he has. “Kannai Vittu” a smooth, melodious number in which Akhilan grieves for his wife, is worth listening to, especially for Madhan Karky’s lyrics.Īnd finally, Vikram. Two out of the three songs composed by Harris Jayaraj are forgettable. The background score is overpowering, with the usual stock opera vocals and effects. There’s a fairly good plot twist midway but the screenplay gets far too contrived and messy after. The Malaysian police inspector, Muthiah, played by Thambi Ramaiah, is nothing short of tacky and irritating, and it’s best to refrain from forced laughter – you’ll be drained by the second half. The first-half is tight, with Nassar making a quick cameo. When she’s not parading around in fantastic ensembles, she’s making serious faces and holding guns. Nayanthara’s role has no substance to it and the script is entirely to be blamed. But Aarushi is capable of empathy and that’s really it. His wife’s tragic end has numbed him and so, nobody else’s death can shake him. The most depth that her characterization is granted is when she yells at Akhilan to take a dying girl who accompanies them on the mission to the hospital. She’s a RAW field agent working with Akhilan, but her role reflects very little of the strength, charisma and determination of one. Her talent and grace are pitifully wasted as she quietly takes orders and her retorts sound like mere squeaks. Nithya Menen as Aarushi is for decorative purposes only. He’s a monolithic textbook villain with little to no characterization. The attempt to establish a cross-dresser as just another person, no questions asked or eyebrows raised, is laudatory. I’m not sure if this is a scene of reclamation, but even if it is, it looks like a token one plonked into the screenplay.
Opening the door, he hears a woman yell “This is the ladies room!” He looks past and walks away proudly.
#Iru murugan trial#
Certain irksome mannerisms of waving his nails, air kissing and speaking in an odd accent are mildly cringe-worthy.īut just when you celebrate that he hasn’t fallen prey to any clichés or wrong pronouns, a disjointed scene shows him in the women’s trial room. He toys with androgyny in pink polo shirts, bowties, skin-tight pants and dark waistcoats. Love is a proud cross-dresser, sinister and sassy in equal measure.
At other times, the explanations are too tedious. The chemistry lessons are aplenty and “Iru Mugan” gets its science right most of the time. In the film, the drug is stored as a gas in an inhaler, which Love distributes among his army. It played a key strategic role in Hitler’s army, creating a feeling of euphoria and invincibility among his soldiers. “Pervitin”, a methamphetamine-based drug, was manufactured from 1937 onwards. As a front, Love runs a cosmetics company, and can rattle off chemical equations or even devise a powder compact that burns through skin.īut what he can also conjure up is Speed, a drug that can boost adrenaline levels, cause a heightened sense of awareness and aggression, and which wears off in 5 minutes. Whose hand is in this? Drug baron Love, the cross-dressing antagonist, played by Vikram again. Why is he so angry? There’s a quick, choppy flashback taking us through the death of his wife Meera (Nayanthara), another RAW field agent and data analyst.
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