Star-casts: Dhanush, Thamannah, Raj Kiran, Prakash Raj, Ganja Karuppu
Story, Screenplay, Dialogues & Direction: Hari
Banner: Vijaya Productions
Production: B. Venkatarama Reddy
Music: Devi Sri Prasad
Cinematography: Vetri
Editing: V.T. Vijayan
it’s not a new mantra to enlighten the audiences for it’s been religiously practiced while watching his movies. Things get clear while Hari announces his project with first look posters as you can foresee the movie through imagination. Mass heroism, a love story that involves family members of both sides, a tough combat between goodie and baddie, sentiments poured down now and then.
Don’t presume ‘Vengai’ to be an exception as it carries these traits and it keeps you engaged in parts. Hari picks up a simple script and blends it to his style of narration.
Pandiapuram – A Southern rural land has the realms of Veerapandi (Raj Kiran) and influences Rajapandian (Prakash Raj) to become MLA. Earning his favor, he achieves his political destination, but is accumulated by desires of swindling money from public. Difference of opinions between the duo leads to a severe conflict as Rajapandian uses cloak and dagger method to bump off Selvam (Dhanush), son of Veerapandi. Unaware about it, Selvam is sent to Trichy for avoiding problems, but is forced to take up sickles settling down the scores.
Glimpse back on the points we’ve mentioned above for it helps you well to go through the analysis. It’s not an easy job to take up a thin storyline and make it engrossing for the audiences. The first few minutes into the film, where we see Dhanush attacking the baddies leaves a wrong impression giving ‘Sullan’ effect. However, his actions are controlled and Hari has taken scrutinizing efforts over shaping up his characterization. His emotions while approaching to situations looks perfect and might be, it’s a prolonged effect of ‘Aadukalam’. Thamannah – My Fair Lady looks beautiful, especially in the song ‘Kaalangathala’. It looks like the song was shot during the time of her commitment with Telugu movie ‘100% Love’ in which she looked gorgeous. Prakash Raj is nowhere far from his previous movie and Ganja Karuppu is completely annoying with his comedy tracks.
Devi Sri Prasad’s songs are good with the feet-tapping numbers ‘Kaalangathala’ and ‘Yenna Solla Pora’ are pictured comely. ‘Pudikale’ is a treat for frontbenchers. Vetri follows the instructions of Hari over placement of camera angles and editing goes the same way as well.
The techniques where the protagonist bounces back the villain with his smart routes is like revisiting Hari’s previous movies. The suspense revolving around Thamannah is a good idea, but Hari could have done it yet more in a gripping way. The scene where Dhanush visits Prakash Raj with garland of flowers and people clapping is a good stroke of enjoyment. His final conversation before action with father Raj Kiran about ‘Passport’ has a strong touch of Hari on dialogues.
On the flip side, there are some sluggish moments during second half. Well it may not click with not-so lovers of sentiments, but goes fine with family audiences.
Final Word – Producers can keep their fingers crossed for the film will gain them good collections and if award jury members plan to have introduce a new category ‘Best Director for making Producers Happy’, obviously, it’s gonna be Hari.
Watch ‘Vengai’ with your family and it’s the best entertainment for this day worth spending money on.
Director Hari’s forte lies in subjects that deal with familial relationships, their ramifications, their highs and lows which he usually narrates with a village backdrop. The family values and sentiments are the fulcrums around which Hari hinges his tale in an interesting manner. In Vijaya Productions Venghai, the director teams up with Dhanush for the first time to tell his story that is said to be a symbol of valor.
Venghai is all about the conflict between its three protagonists, Dhanush, his dad Raj Kiran and Prakash Raj and the pendulum this time seems to sway more towards the action side than the sentiment region justifying the tagline of the film.
Although Hari’s films follow a standard template which the movie going audience is well aware of, there would always be interesting knots in the narration that keep the viewer’s interest alive, but in Venghai, these features are very few and the predictability factor takes the pizzaz out from the happenings on screen.
The lengthiness of the film and the logorrhea of the characters are a few factors that work against Venghai. The screen play and the narration travel on an expected course making the fare an unexciting one. Flashes of interest invoking anecdotes do appear like the hiding of counterfeit currency in Raj Kiran’s house and Dhanush’s attempt to thwart the same but they are very few in numbers.
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Love in Venghai has been handled well by Hari and the manner in which Dhanush falls in love with Tamannah and their subsequent interactions and the emotions that they go through are very natural and realistic and nowhere do they go overboard.
Most of the sequences involving the confrontation between the three leads give a déjà vu feel from many of Hari’s earlier films and other films too, the key one being the realization of Raj Kiran as Dhanush’s dad by the baddies and their subsequent withdrawal from killing Dhanush, a la Sandakozhi.
The momentum of the film is not uniform with frequent crests and troughs with more of the latter. After a point, the aruvals, the Tata Sumos and the fast moving convoy of vehicles become very tedious.
Dhanush as the affectionate and understanding son presents his role convincingly but there is not enough fodder to satiate his acting prowess. Tamannah appears in homely costumes even in song sequences and comes across as a very somber and matured girl. For Prakash Raj who has done such innumerable roles in his career, his character portrayal in Venghai is just a cakewalk. Rajkiran as the man who commands respect in the village sails through his role. Orvashi and Sudha Chandran (after a long hiatus) deliver a neat performance.
However in the name of comedy, it is Kanja Karuppu who gives the audience arduous times and his high decibeled voice certainly annoys. His tangential comedy tracks and antics also don’t add value to the film.
Despite the songs not being forced in to the narration, but for Kaalankaarthale, others don’t make an impact. And Devi Prasad’s RR is an aural sore, to say the least. Other technical contribution just pass muster and are ordinary.
To sum it all, Venghai is another Hari film with his usual ingredients but sans his usual spirit and this film might work for people who seek action entertainers set in villages.
Verdict: Another Hari film that engages mildly
- 2 / 5
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