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L.Srikumar Pai
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Review : Raavan

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Cast: Abhishek Bachchan, Aishwarya Rai,  Vikram, Priyamani, Bipasha Basu, Govinda, Ravi Kissen
Direction: Mani Ratnam
Music: A R Rahman


Here comes one of the the biggest releases of Indian film industry and it’s really a greatest show as Manirathnam would definitely never let anyone down. This isn’t a full-fledged review as we don’t want to reveal the complete status and break down your expectation levels.

Firstly, it’s all about Vikram, who just overshadows everyone over the screens in spite of Abhishek Bacchan donning the lead character. Maybe Aishwarya Rai was good at certain levels and the films that established her in a completely amazing manner were few. You can easily point them out like ‘Iruvar’, ‘Guru’ and ‘Jodha Akbar’. Undoubtedly, the actress sweeps out every films and establishes her in a newer way.

Here goes the complete synopsis of Raavan.

The film revolves around three characters: Beera (Abhishek Bachchan), Ragini (Aishwarya Rai Bachchan) and Dev Pratap Sharma (Vikram).

Despites every conflict of opposition, Dev – a righteous cop and Raghini – a classical dancer get married. Soon they move together to the deep-rooted region of Lal Maati, a rural town in North India. This place has no regards for the police and court law, but in the hands of Beera (Abhishek Bacchan). Being a man with his own principles and handling the issues down his way (partially based on Maoist groups), he has no problems until Dev Pratap Sharma enters his way. On a mission to put an end to Beera’s realms, Dev tears the things down as it leads to unexpected twists with shocking and surprising turns.

Broken down in spirits as his happiness is completely lost through his close blood relation, it’s turn for him to retaliate. It is just as you expected as Beera kidnaps Raghini only to find the justice in his own way.

But then, things are completely gonna be different as the journey that upholds in second hour with more characters involved in this drama will surely entertain you with a different dimension.

We have a small notice for the audiences, who have decided to watch the film. Before watching it, do not expect Manirathnam to go by the customary features.

At the end, there will nothing define as WHO WAS WRONG and WHO WAS RIGHT? It is just as it happened with Akira Kurusowa’s RASHOMON. The ultimate decision about the right judgment lies in the hands of no one, but you. Might be for the situation, there may be few debates popping up sooner after the show is over as few people may advocate for Beera, while others Raghini and Dev.

Unlike other films, it’s best to make few points on the technical aspects. This is outstanding and you could have guessed it just with the list of the technicians. First of all, Manirathnam’s ability to shoot major portion of the film besides, inner and nearby locations of waters has to be appreciation. The backdrops of locations maybe different, but the continuities have been strictly followed as audiences may not feel the difference anywhere.

In fact, the story’s proceedings are mostly happening over there. You would not have found any sequences related to an unexpected character proposing the ladylove in water. Yes, the scene where Abhishek Bachchan expresses his love for Aishwarya between the waters is simply superb and for sure there are possibilities of audiences keeping quiet with shock or may freak out raising for applauses.

For the performance, Abhishek Bachchan is exposed in a completely different manner from Manirathnam’s yesteryear films Yuva and Guru. Try to grasp on his performance of Aishwarya Rai, the victim trying to attack him and yet he reciprocates with a different gesture. But the man who steals the show is South Indian actor Chiyaan Vikram. He is fit and more perfect and this one does not look like debut film in Hindi. He is so well versed with dialogues. His introduction is not as formal as it happens with his previous Tamil films.

When it comes to dialogues, Aishwarya Rai gets more footage just as she emotes well wedged between confusions on finalizing her life’s way.

The supporting actors like Ravi Kissan and Priyamani (one of the important characters in this film) have done the best performances. But some of the conversations pertaining between every character look like a stage play. Vikram’s body language speaks more than his dialogues while yesteryear actor Govinda has got far away from those clownery acts. Every character has its own definitions and conclusions as director Manirathnam does justice to the roles he has designed.

More than songs, the background score by A.R. Rahman will surely receive more welcome as the musician has well performed enhancing the breathtaking shots of Santhosh Sivan. But it’s weird to see that Manirathnam’s ‘GURU’ climax shot of freeze-and-frame is used at more sequence. For exemplification, the ‘KATA KATA’ has similar shot that causes a sort of pain in the neck. It could have been done even without it. Sreekar Prasad’s editing is crisp as before as he doesn’t try anything new. But the best of all picturing is ‘BEHNE DE’ that has everything superb – music, camera, lyrics and performing levels of actors.

There are some emotional criteria involving Abhishek Bachchan and Priyamani and their heart-binding scenes at certain portions will attract the audiences of all centres.

On the whole, Raavan is a great movie at Indian standards that will be regarded as the best flicks of contemporary period.

Verdict: A different and best of Manirathnam’s showpieces


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