Asuran (Review)

The family of Sivasamy is running and hiding from a group. “Asuran” is a cinematic adaptation of the Tamil novel “Vekkai,” written by Poomani. Vetrimaaran took the basic plot from the novel and changed it so much that the readers of “Vekkai” will have dozens of questions about the focus and characters. However, Asuran’s writing is so strong, with robust characters and good character development, that it easily involves the viewer in its story and action from beginning to end.

Like his previous movies, here also, Vetrimaaran talks about land and caste division. It is also the story of a father trying to protect his family from his past. The portrayal of the relationship between father and son really elevates this film. Asuran is also a mass film with heroic action scenes and heavy mass theme music. Back-to-back movies yesterday: Jallikattu and Asuran. For a few moments, I felt as if it’s a continuation of the other. Asuran starts from where Jallikattu ends. Even the sound and location looked the same (first two or three scenes). I loved that connection.

“நாம கொலை பண்ணா கூட மானத்துக்காக தான் பண்ணோம்னு ஒத்துக்கிற மாட்டானுவ”

As the story unfolds, you will be treated to great cinematography by Velraj and poignant musical renditions throughout. GV Prakash’s soundtrack is very poetic, powerful, portentous, and complex. Goosebumps are guaranteed whenever the Vaa Asura track is played. I’d watch this movie for these track-induced scenes alone. The set design and costumes are flawless. The film is immaculate in technical terms, like perfect sound designing.

Vetrimaaran breaks all norms of ‘big hero’ movies in Kollywood. The hero of ‘Asuran’ does everything that the usual ‘big heroes’ don’t do. The Tamil industry is blessed with actors like Vijay Sethupathi and Dhanush. It’s impossible to think about another actor as Sivasamy. Even with so many non-clichéd scenes for the hero, Asuran is still the most commercialized product, along with Pollathavan, from Vetrimaaran.

“இவனுங்க எது பண்ணாலும், போலீஸ் கண்டுக்கவே கண்டுக்காதா?”

Dhanush looks best in Vetrimaaran movies, and it’s essential to delve into them. Dhanush looked his best in Pollathavan, such as in the hospital scene where Kishore and Daniel Balaji meet Dhanush. Then came Aadukalam, followed by Vada Chennai. Now, in Asuran, Dhanush continues to shine. Vetrimaaran’s films portray emotions, especially sadness and anger, close to real life. This authenticity is likely the reason we see actors at their natural best. In Asuran, Dhanush brings the character to life, delivering an exceptional performance, particularly as the aged father.

“இங்கே இவனுங்க வெச்சதுதான் சட்டமா, என்ன பண்ணாலும் நாம பொறுத்துட்டு போகணுமா? இவனுங்க எது பண்ணாலும், போலீஸ் கண்டுக்கவே கண்டுக்காதா?”

Manju Warrier is incredible as Pachaiyamma, making a powerful entry into Kollywood. It’s refreshing to see her in such a commanding character. Manju brings grace to the screen as Sivasamy’s wife and delivers a superb performance. Despite having portrayed a similar role in Kanmadam years ago, she continues to amaze with her ease in such characters. This film should serve as a reminder for Malayalam filmmakers to offer her stronger and more deserving roles. Pasupathy, as Maama, is a welcome presence, and it’s great to see an underused actor getting such roles. Ken Karunas and Teejay Arunasalam do a fine job, while Ammu Abirami is beautiful and perfectly fits her character.

Vetrimaaran consistently proves to my non-Tamil friends that he doesn’t know how to make a bad film. Asuran is another example. While it may not be Vetrimaaran’s best, it’s certainly the best of the season from Tamil cinema.

“நம்மகிட்ட காடு இருந்தா எடுத்துக்கிடுவானுங்க, காசு இருந்தா புடுங்கிக்கிடுவானுங்க. படிப்பை மட்டும்தான் நம்மகிட்டருந்து எடுத்துக்கவே முடியாது. சிதம்பரம், நீ நல்லா படி. படிச்சு வேலைக்கு போ. அதிகாரத்துக்கு வா. வந்துட்டு அவனுவ செஞ்சத செய்யாத. உனக்கு என்ன நடந்துச்சோ அத மத்தவனுக்கு நடக்காம பாத்துக்க”