Vanjagar Ulagam Review by Praveena | Guru Somasundaram, Chandini, Sam C.S | Manoj Beedha
Vanjagar Ulagam Review by Praveena | Guru Somasundaram,
Chandini, Sam C.S | Manoj Beedha | Vanjagar Ulagam Review
#VanjagarUlagam #VanjagarUlagamReview #SamCS
Vanjagar Ulagam Synopsis: A woman is murdered and her
neighbour is picked up as a suspect. Meanwhile, a journalist believes he can
use this murder to lure an elusive gangster, with help from the guy’s former
accomplice.
Vanjagar Ulagam Movie Review: Vanjagar Ulagam opens with a
man coming to consciousness. He is inside a van, and notices flames engulfing
the vehicle. He manages to get out. In most movies, this would be a tense
scene, but Vanjagar Ulagam is gives us nonchalance. Right away, Manoj Beedha
establishes that more than anything, he wants his film to be cool. And right
till the end, we get that – in the stylish visuals (the cinematography is by
Rodrigo Del Rio Herrara and Saravanan Ramasamy) and in Sam CS’s eclectic score.
Back to the plot, we learn that the youngster who escaped
from the van is Shanmugam (Ciby Bhuvanachandran), who prefers to be called
Shaam. In the very next scene, he is picked up by the cops under suspicion of
murdering his neighbour, Mythili (Chandini Tamilarasan). The youngster’s
colleague, Vishagan (Vishagan Sulur Vanangamudi), a journalist, feels that the
murder could be used to lure the elusive gangster Durairaj. And he tries to woo
Durairaj’s former right-hand man, Sampath (Guru Somasundaram), who has quit the
business, to help him get the man.
A whodunit, a gangster drama, and a neo-noir all rolled into
one, this hard-to-classify quality of Vanjagar Ulagam is both its strength and
weakness. There are a few moments, like the shootout involving Sampath and
Mahalingam (Azhagamperumal), a cop who is after Durairaj, or the lead up to a
love-making scene between two characters (with a Carnatic-dubstep score), where
the filmmaking flair keeps us transfixed.
That said, the film overplays its hipness quite often, and
this results in it lacking the tautness of a whodunit, the energy of a gangster
drama and the cynicism of noir. We view the characters at a distance and are
never really sure whom to root for – the impish Shanmugam or the determined
Vishagan or the unpredictable Sampath. The director seems to lean towards the
latter, and Guru Somasundaram gives a captivating, if a little too mannered,
performance in this role, but the role isn’t as forceful as it should be. And
for a film that wants to be uber-cool, this one feels dialogue-heavy.
But what keeps us involved is the circuitous manner in which
the director tells this tale. Even if the climactic revelations are easy to
guess, the constant shuffle between scenes in the present and from the past
lends the film some novelty.
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