Production: M.K. Thamizharasu
Star-casts: Arulnidhi, Sunaina, Jayaprakash, Kishore, Ganja Karuppu and others
Music: Taj Noor
Cinematography: Mahesh Muthusamy
Last week’s release ‘Baana Kaathadi’ introduced a new actor Atharva showcasing his potentials in a film that was a cliched romantic tale. On the pars, this Friday’s ‘Vamsam’ is based on a hackneyed plot of nativity film that revolves around clashes between few lineages in the village. Pandiraj debuted with an innovative conceptualization in ‘Pasanga’ and this time hasn’t got anything special to offer.
Centered in the backdrops of a distant village in Tamil Nadu, the film delineates about 11 different lineages in the place. Specifically, it revolves around three characters Anbarasu (Arulnidhi), Malar (Sunaina) and an elder person (Pasanga, Nadodigal fame Jayaprakash) belonging to various lineages. For the next couple of hours, the film touches the lines of conflicts, enmities and settling of scores between these families.
Director Pandiraj made a promising start with ‘Pasanga’ that was a wholesome entertainer with fun, frolic and a good message. On contrary, ‘’Vamsam’ spheres into a usual arenas of romance, fun and hostilities. The first half is completely entertaining as the screenplay is very racy and keeps us occupied for 90mins. But the second half turns to be little sluggish as Pandiraj pulls the threadbare narration of a long flashback and predictable climax with an interesting twist.
Arulnidhi takes off with a better start by doing justice to his role. The new actor seems to have taken extra care over projecting himself best on his character.
If he can choose the best scripts in mere future and exceptional roles, he can go ahead adding more feathers to his cap. Sunaina deserves praises as she gets under the skin of her characterization. It’s better and appreciable if she can choose such meaty roles. Jayaprakash spells an overpowering performance as a baddie while Kishore as usual wins the praises. Ganja Karuppu’s comedy tracks are enjoyable.
On the technical parts, Taj Noor’s musical score sounds more loud and vitriolic; especially the background doesn’t match the visuals. Mahesh Muthusamy’s cinematography is bright and top-notching. Editing trivializes the visual enhancements as there are some discontinuities in transition.
Usage of cell phones over the top of trees, project of festivals and describing the qualities of culture and Asin – the cow cupid engrosses the audiences. If Pandiraj had tried to invent something new with the screenplay during second half, the film would have been far better. The filmmaker could have limited himself from establishing his overdosed brilliancies of presenting more infotainment on village, different lineages, newfangled murdering and its pre-n-post dramas.
What works: First half, Star-casts, Cinematography, Direction
What doesn’t work: Second half, too much details, music, editing and predictable screenplay
Verdict: Watch it once