What kind of movie is Vaitheeswaran? Is it a movie revolving around a young man, who is a reincarnation of a small boy, who died 30 years back? Or, is it a movie revolving around a young man, who operates using his brain and muscles to settle scores with the baddies?
In other words, the movie revolves around an eternal question on the happenings in the world: Does everything happen according to fate or is it human endeavor that causes everything?
Well, the answer depends through whose eyes you view the movie. If you look through Mani Sankaran’s eyes, you would conclude that the movie is all about fate. If you look through Dr. Bala’s angle, you would end up concluding that everything is done through human endeavor.
Director Vidyadharan has tried to give a different colour to the usual tussle between an individual and a powerful politician by bringing in reincarnation theory. Nevertheless, he hasn’t fully relied upon the theory to make the proceedings move ahead. He has deftly created a two-layered script that operates along the parallel lines of divinity and logic.
The first scene itself tells you the storyline. Saravanan, a small boy is killed by Dhanasekaran (Sayaji Shinde), a politician without any trace of the murder. Mani Sankaran, an astrologer, who is well versed in ‘Nadi Josyam’, finds that the boy would be reborn and avenge his death. He tells the mother that though her boy died according to his fate, he would soon take rebirth and meet her after thirty years.
He asks her to stay inside the temple and pray to God for 30 years to meet her son. The mother sincerely follows his instructions.
Cut. Dr. Bala (Sarathkumar), a psychiatrist, gets into trouble when he wants to help his police friend (good looking) Riaz Khan and his girlfriend (Suja), who fall victims of Dhanasekaran, who commits a murder. Though he is not able to save them from the clutches of Dhanasekaran, he is determined to expose the rotten politician.
Mani Sankaran and Saravanan’s mother are waiting for the day of Saravanan’s arrival. Bala, along with his girlfriend Rupa (glamourous Meghna Naidu), a VJ in a private channel, are planning to punish the politician. The turn of events bring both Bala and Dhanasekaran to the village where Saravanan’s mother has been invoking the almighty for 30 years. The battle ends up with the hero coming out with triumph.
The interesting aspect of the film is the script that operates in two layers. Everything happens according to the predictions of Mani Sankaran’s Nadi Josyam. At the same time each and every incident can be perceived as normal development happening according to the plans of the human beings. The way logical and divine dimensions operate as parallel lines make the proceedings interesting. When you think some development as unbelievable, the script promptly comes out with a logical explanation for the same.
The problem with the script is that it is too predictable to be exciting. While the director has conceived some unexpected turns in the narrative (the incidents happening after Sarath meeting the mother), the major portion of the twists and turns are predictable. Moreover, the characterization of the politician is too clichéd to provide any interest.
Director Vidyadharan, however, has to be commended for his guts to avoid the mandatory duet song(s) post interval. He has concentrated on the narrative without deviating from the plot by inserting songs.
Performance wise, Sarath has done a neat job in a role that doesn’t have much of heroism. He scores in intense scenes and excels in action sequences.
However, there is no big challenge in his role and hence the impact of the role too is limited.
Meghna Naidu, who flaunts her body without inhibitions, sizzles in the beach song. She is competent in the role of a VJ and a girlfriend of the protagonist.
Though she comes through out the movie, she doesn’t get much scope to act.
Sayaji Shinde is competent in a routine role while Mano Bala as his assistant scores high points through his sharp and satirical comments. Vijayakumar, Riaz Khan, and Suja have done their respective parts well.
The music by Srikanth Deva is effective in terms of background score. The title song is melodious and there is not much to write about other songs. Cinematography by S. Saravanan and M.V. Panneer Selvam is pleasing to the eyes while Raja Mohamed’s editing is crisp.
Overall, the movie’s two layered script is interesting but it lacks the element of excitement, as the proceedings are rather predictable.