Cast: Vishnu Vishal, Catherine Tresa, Soori, Anandaraj, Rajendran, Aruldoss, Saranya Ponvannan and Vijay Sethupathi (special appearance)
Music: Seal Roldan
Cinematogrpahy: J. Laxman
Written & directed by: Tha Muruganantham
Producer: Vishnu Vishal
Actor Vishnu Vishal, who part-produced last year’s super-hit film Velainu Vandhutta Velaikaaran along with director Ezhil and ‘Rajini’ Natraj, turns solo producer with Katha Nayagan, which borrows its title from a 1998 film which had the diminutive Pandiarajan and S.V. Sekhar essaying lead roles. Vishnu, who has proved his mettle as an actor of substance and someone who is quite capable of slipping into any kind of role, is still in a nascent stage as a film-maker, a bitter truth which is aptly proved with his selection of the film’s script.
Vishnu continues his successful association with comedian Soori, who rocked as a hero-comedian duo in last year’s hit film Velainu Vandhutta Velaikaaran. Hollywood major Fox Star Studios has taken up the trouble of releasing the film on a large scale across theatres in the State. Let’s now analyze why and where Vishnu and his debutant director Tha Muruganandham went wrong in reading the audiences’ pulses.
Thambithurai (Vishnu Vishal) has the habit of feeling scared of almost everything; he works at a local Tahsildar’s office. Once, during his arduous task of crossing a busy intersection on the road, he comes across Kanmani (Catherine Tresa), a young beauty, and falls head-over-heels in love with her. He seeks the help of Annathurai (Soori), a close friend, in trying to woo and win Kanmani’s heart.
After Kanmani’s father insists that he would get his daughter married only to a brave-heart and not to a coward, Thambithurai vows to himself to get back to his gym-toned physique. Just when the audiences feel the film is about to end with a happy marriage, there occurs a ‘twist’ in the script; the rest of the film is about how the protagonist unmasks himself from the threat the hero faces in his life and love-life.
The forte of the film, thus, lies clearly in the comic manner in which the script is taken forward. It appears that the director’s sole aim was to make the audiences laugh out loudly, forgetting totally about cinematic liberties. Taking extreme care to shoot a full-length comedy is not a bad idea provided some care is shown towards the script too. As no sequences stays in the mind soon after you exit theatres, a discussion on the characterization of the lead actors’ roles is the need of the hour!
It is certainly not to the credit of debutant director Muruganantham that the first-half has been shot sans comedy and in a manner which is far from being interesting. Least said about the (brewing of the) love affair between the protagonist and his girl friend would be the better. The only noticeable ‘twists’ in the tale are quite few in numbers: Vishal’s so-called ‘danger’, kidney looting, etc. which appear only in the second-half.
Vishnu, who is a natural actor, disappoints his fans and critics with his choice of scripts. Soori tries his best (in vain) to keep the audiences glued to their seats. Catherine Tresa looks pretty and has nothing noteworthy to do; Aruldoss has gone a good job as usual.
Anandaraj and ‘Mottai’ Rajndran have done their parts admirably; the Anandaraj-Soori duo’s ‘music concert’ is probably the only sequence which is full of logic and imaginative aptitude. Vijay Sethupathi’s cameo unfortunately gets noticed not in a big manner as it has occurred in a film with one of the weakest scripts you would ever get to watch.
To add to the script’s weakness, neither the dialogue nor the lackluster songs appeal to the audiences. Sean’s music and Laxman’s cinematography have failed to lift the film. Sean makes his presence felt only in the song sequences when Vishal is chased by thugs; the song is very different and has been picturized in a novel manner.
• Comedy (though it is not omnipresent);
• Anandaraj’s acting
• Weak screenplay;
• Too many number of clichés;
• Uninspiring sequences and their picturization; and
• Comedy of nil quality
Verdict: Katha Nayagan is only a case of old wine poured in a not-so-clean bottle; the clichéd sequences are too much for the audience to digest. Things could have been vastly different had the director chosen to pay more attention to the film’s script!
Katha Nayagan has nothing new to offer!
Rating: 2 out of 5 stars