Director vijay rode the horror comedy wave with an interesting ghost story in his previous movie, devi(l). Now, he has long gone lower back to his madrassapattinam system, and given us a movie whose plot points are borrowed from several hollywood movies — from tarzan and george of the jungle to dances with the wolves and avatar. That the recent kadamban, which touched upon a similar subject matter (tribal displacement in the call of development by greedy company), doesn’t try this film any favour.
The story revolves round jara (jayam ravi), a tribal in andaman, who, while the movie begins, escapes from a collection that has captured his people. He ends up in the care of kavya (sayyeshaa, who receives to expose off her movements, but in any other case, is unremarkable), a spoilt, wealthy woman, who has come to the island to have a good time new yr along with her friends.
Kavya brings the injured — and amnesiac — jara, whom she calls vaasi (she derives it from the phrase ‘kaatuvaasai’; that’s how creative the film is!), to chennai, and the director gives us several fish-out-of-water eventualities that show audiences the innocence and power of jara. This ends in some fun moments that even when they are predictable are relatively entertaining. Name it jara of the jungle!
There’s also a sub-plot related to kavya and her dad and mom’ suspicious demise, and it entails her father’s buddy, rajashekar (prakash raj), and brother, ganesh (thalaivasal vijay). However it's miles dropped midway for some motive.
In the meantime, rajashekar’s son, vicky (varun), who's hoping to marry kavya, is adversarial closer to vaasi, and situations lead to vaasi injuring him badly. And michael raj (sam paul), a cop from andaman, arrives simply in time to take vaasi again. Why do they want vaasi, and what does rajashekar do in retaliation?
Vanamagan is to begin with a laugh, to an extent, because director vijay unabashedly performs to the gallery. He makes use of the over-the-top overall performance of jayam ravi for comedian effect, and for a while, the film feels like a mild diversion.
However the trouble is that there’s infrequently whatever fresh, and the second one half exposes the hollow, unimaginative script. That is stunning given how devi(l) continued to marvel us within its horror comedy genre conventions. There are also inconsistencies inside the film’s own inner common sense. We're by no means told why kavya, who doesn’t thoughts letting plates of meals go waste or doesn’t furnish leave to a servant for his son’s marriage (rather she arrogantly offers him money), makes a decision to take the injured jara to chennai. Further, jara is shown as an animal, however in the second 1/2, we see that the tribal community has its personal set of values and customs.
Vijay keeps achieving for beats that we know are going to be hit, and this robs the film of exhilaration. Take into account a chase within the forest inside the second 1/2. We get everything we've visible in severa film — a cliffhanger, a duet, a undercover agent chicken, a comic individual (thambi ramaiah, in his grating mode), a wild animal that suggests it gratitude for the hero, and a individual revealing his actual purpose after deceiving a nicely-which means one.
A cgi tiger and tirru’s visuals, which allow us to dinner party on the luxurious locales, are the movie’s first-rate achievements. If only had the care that appears to have gone into choosing the distinguished locales went into the script as well
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