Rajinikanth’s screen presence is the only attraction in this over-the-top emotional drama
feeling Annaatthe Very familiar with Tamil cinema. sisterly affection – or thangachi Bhavana, as it is known in Kollywood – has long caught the attention of our heroes, from Sivaji Ganesan to Sivakarthikeyan.
And now, Rajinikanth, post a series of experiments like 2.0 more serious topics like Black, settle with this familiar feeling in an environment he has not explored in recent times: the quintessential Tamil village.
Kalaiyan (Rajinikanth) is introduced as a sort of village president, but his attention and focus is on his sister, Thangaminakshi (Keerthy Suresh). When she comes on a train, she makes sure that every passenger traveling with her is treated well. When they start looking for a match for her, all she wants is the man within calling distance. when that think To him, he appears. he is He fond of him
But destiny has more things in store for this sibling duo, and they must part ways due to certain circumstances. Will they meet again?
Annaatthe (Tamil)
- Cast: Rajinikanth, Nayanthara, Keerthy Suresh, Suri, Meena, Khushboo
- Director: Shiv
- Story: A kind brother has to do a lot to protect his sister
Director Shiva, whose last outing was the Ajith-starrer faithful Which displayed a father-daughter bond, here tried to increase the love between brother and sister. Problem? He falls in the water. Each scene in the film featuring the two has a different form of saying, “I really love you. I will go to any lengths to make you happy.”
If there was depth in the chemistry between the two, it would have been possible. In Annaatthe, Rajinikanth and Keerthy Suresh try hard to bring it out, but with very little success. Rajini tries to make up for the lack of solid visuals with his style and screen presence, which is intact to an extent, but Annaatthe It’s hard to save. For a film that practically revolves around a sister, it is a pity that Keerthy Suresh doesn’t get a single well-written sequence.
The first half is utterly memorable as Rajinikanth’s return to the places we’ve been missing since the nineties – a regular for his films might remind him of the time he felt. Muthu And Arunachalam. However, this feeling is also very fleeting, as the number of loud characters that somehow make their way into the frame (Khushboo, Meena, and several other popular faces) sum up the listless, flat scenes. Nayanthara’s presence brings things to life a bit, but her role – a lawyer who actually turns out to be a proud translator – leaves a lot to be desired. Once the setting shifts to Kolkata, the action kicks in, but there too the villains come and go while the kalaiyaan soldiers walk in.
Music by composer D Imman is superb. In a setting with which he is extremely comfortable, Imman does what is expected of him; ‘Sara Kaatre’ stands out while BGM tries to amplify the vanishing feeling on the big screen. Cinematographer Vetri’s frames fit the film’s needs, but the lack of ‘theater moments’ and poor script writing in this big budget star vehicle is a major disappointment.
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