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  • Ravanan is probably one of the hardest movies for which I'll be writing a review for. For most people who have already watched the movie, when they think in retrospect, it becomes easy to term it as 'very disappointing; or 'a complete waste of their time'. Well for one thing, this verdict shows the still conservative, yet to be unconventional mindset of the general audience towards Indian cinema. The most important aspect that I learnt after watching the movie was that, one cannot ever question a filmmaker's viewpoint, especially not of someone who has brought Indian cinema to great heights with movies such as guru and Bombay. Usually in the initial phase, a director has his thoughts aligned in a manner which only he can understand. It is converted to the screen only when he brings his ideas to everyone's comprehension. It is the latter fact that Mani Ratnam has not brought to complete satisfaction, which though he might be clear of, in a way puzzles the audience. In this film, the director has made us understand the importance of looking through a particular situation or argument through a different perspective, more specifically, a perspective which we might fear to judge. Ravanan can be said to have a definite storyline comprising that of a modern storyteller's as well as the ancient sage's. The modernized and refurbished version of the Ashokavanam episode and lanka war is re-enacted and cinematographed in different locations with different character descriptions and names, different, yet similar situations and most importantly looking from a different viewpoint, the perspective of Raavana himself, who we are accustomed to the knowledge that he is the villain.

    The idea is different and definitely in the best of its ways. Not everyone is ready to take a blind shot at the vague parts of an epic like Ramayan and Mani Ratnam to the most part has handled the concept well. The support team including the expert actors have contributed to their best and have brought their abilities to near perfection. Vickram as Veera steals the movie with ease, giving one of his best performances. The fierceness in his depiction of modern day Raavana is apt and does quite a lot of justice to Valmiki's image of Raavana. Aishwariya rai who plays Ragini, modern day Sita otherwise, gives another artwork that will always remain as one of her pioneer roles and so do Prithviraj and Priyamani who play Dev (lord Rama) and modern day Shoorpanaka respectively. On the technical front, the music though not the best work of A.R. Rahman does pure justice to the theme of the story and BGM gives you a wonderful thrill. But, the most exemplary aspect of Ravanan is the direction of photography by Santosh Sivan and V. Manikandan. The lens men have captured the scenes in a manner seen never before in Indian cinema. The location, the camera angles and clarity are brought to near precision and gives the most delicious treat to the eyes of the viewers.

    So what could be the possible letdown for the movie, to begin with, it lacks clarity towards the climax which most usually matters to the audience because it is the final sequence that tend to have the final impression on them. The ending is clouded with smoke giving no clear idea of the exact feelings of Ragini toward Veera and the tryout of grey shading Prithviraj's character tends to be a little more than required. The scene where he ruthlessly shoots Veera's brother gives us a feeling of hate towards dev and love for Veera. Apart from all these things, once you step out of the movie hall, you are forced to think back about the story, about the characters and most importantly, whether you liked the movie or not, you have a propensity of conflict in your mind about who was right and who was wrong. After all that's what cinema is all about, the primary aim is to make the audience analyze and contemplate and Mani Ratnam pulls of that objective with finesse. With Ravanan, the director has carved himself a niche in greatest epitome of Indian Cinema.
  • I watched Raavanan the 2nd day of its release in a theater near Toronto. Like everyone I went for the movie with huge expectations and as a matter of fact I m a die hard Mani Ratnam's fan like other million people.

    To start of with, Raavanan has Mr. Ratnam's class written all over it right from the start till the end. To make things even more better, works of The Mozart of Madras Mr. Rahman, Santosh Sivan, Suhasini Mani Ratnam and Co have done an excellent job. And I m not surprised to see them at their best, as this is "A Mani Ratnam's film" ! The story might not be very new to Tamil cinema, but even a love story involving just two characters can be portrayed in a very classical manner and the screenplay can make the movie a big hit. Simple such example are Mr. Ratnam's old movies . A simple story could be directed in a very good way or a bad way. Mani always chooses the right way - Excellence and sheer CLASS! Vikram has reached new heights already, this character is a tough one , but the way he has essayed the character is top notch ! Kudos to him and I personally feel he is not utilized properly by Tamil Cinema. This actor has lot more potential to make it big, to take Tamil Cinema to the next level just like what Kamal Hassan has been doing.

    Aishwarya has a lot of scope to perform and proves her versatility once again. May be she saves her best for Mani's films I m not sure, but such a wonderful performance by the beauty Queen. Dances really well and makes her eyes do the talking in most scenes. Early in her Iruvar days to Raavanan, her success is for her hard work and dedication.

    I don't have anything to talk about Karthik and Prabhu as i can only be shocked if they don't give their best in all their movies. These seasoned actors are at their best like always. Priyamani has always been an actor who can balance her talents doing glamor along side roles with substance. Good talent to be nurtured for the future. She has gone long way post Paruthi Veeran.

    The music surely plays a big part in the movie. Rahman has done a superb job to make sure he delivers his best to his guru. I always felt bad about Ratnam partying ways with Ilayaraja, but may be it was a blessing in disguise as Ar Rahman came to the podium with a bang ! I hope Mani and Ilayaraja join hands some time in future.

    Vairamuthu's lyrics are powerful as always. DOP Mr.Sivan has given his all for this movie given the fact this movie was mostly shot in forests and with rain most of the times. Amazing talent ! I felt that I was watching the movie like a side actor in the sets and not from the theater, it was so very real.

    To summarize the whole story, even though its a Mani Ratnam's movie,I felt it wasn't his very best as he has handled tougher subjects and the screenplay lacks the master's touch in few places.

    I always consider and compare Mani Ratnam to Clint Eastwood as both these people share something in common - The passion for quality cinema ! For people who look for a excuse not to watch a movie in theaters, I would suggest you to watch it and see the visual in big screen as only then you can realize their hard work. Even if your not a Mani's fan, you should watch movies like this to support quality cinema and Indian cinema as a whole.

    I don't need to talk about Mani's fans, as by now most of them would have watched the movie. I don't like comparing his other movies as each are good in their own standards, this one stands right up there but his best is somewhere round the corner.

    Wonderful movie, very creative, excellent performance by all its lead artists and all together a complete wholesome entertainer by the one and only Master, Mr. Mani Ratnam ! Salute you
  • Warning: Spoilers
    Stunningly spectacular visuals, Sleek and stylish technical aspects, crispy narration, powerful characters and magnificent performance from the cast makes Raavanan one of the best movies of 2010.

    Raavanan is the 21st century Ramayana by India's acclaimed writer- director Mani Rathnam. The movie draws inspiration from the crucial events of the epic; the kidnapping of Seetha during the exile, Ram preparing the army to invade Lanka, Raavanan falling for Seetha, Hanumans giant leap into Lanka, to send message across to seetha and cautioning Raavanan about the debacle of lanka, anticlimax where Ram insists Seetha to step into fire to prove her chastity. For those who have no idea about the above events, Raavanan would give you a preface.

    The story revolves around Veera ('Raavanan' Nick name); wild, untamed, dauntless warrior. A leader for his clan, his people worship and follow his path. He would not tolerate injustice against his people, this gets him into the police records. Dev, the police officer, who has been specially appointed to capture Veera, shifts to the area where Veera has established his reign. Veera intolerant of the action against his clan, kidnaps Ragini, wife of Dev, and there begins the cat and mouse game which bears shades of Ramayana. In the later part of the movie, we get to know that Veera's vengeance against the police is because of his sister's (played by Priyamani)suicide for the pure agony she faced at the hands of the police. Ragini, then, like the Stockholm syndrome, starts to exhibit a soft corner for Veera. Well paced second half and a riveting climax should be given a special applaud. The climax is the best of 130mins of the film as the performance of Aishwarya Rai and Vikram reach the highest level. Remember this; no other cast could've pulled out a performance like this. Thanks to Manirathnam for the best casting.

    Vikram has played his character Veera with perfection, making it his own, in few instances taking it away from mani. He takes each scene into his stride depicting ease with the character. Prabhu, who has played the right hand of Veera in the movie, has given a good performance. Prithviraj, Priyamani and Karthik (outstanding in his come back) have given their best; with Prithviraj playing Dev, the 'good' policeman with shades of grey, Karthik, in fact, seems to be the 'Hanumam' character of the movie brings back the flavor of his yesteryear touch, and Priyamani expresses with her eyes and jazzy voice. Aishwarya Rai as Ragani, the female lead is looking refreshingly beautiful and sinks with the backdrop. She excels in her role and on few occasions she matches the performance of Vikram.

    There is a poetic feel in the conversations between Aishwarya and Vikram, and its complimented by the scenic beauty around them. The abundance, splendour and the grandeur of nature has been captured by cinematographer Santosh Sivam and V Manikandan. The views are breathtaking; Mani's Love for rain is almost visible in every scenes especially in those conveying emotions. Cinematographers have done a fantastic job in recreating the spectacular visuals on the screen.

    A R Rahman's music is predictably brilliant. Most of the songs bear a rustic and earthy feel and lyrics by poet Vairamuthu glorifies the story. The songs blend with the visuals rendering viewers a treat. The movie has the stamp of Mani Rathnam's style in the narration, scene execution, but still, one does feel the scenes in the first half slack a bit in continuity and connecting characters.

    Yet again, the star studded combo of Manirathnam, AR Rahman, Santosh Sivam and Vairamuthu rocks the box office.

    On the whole, 'Raavanan' is a film that doubtlessly offers something new, fresh and exceptional. For those whole liked this movie i would recommend a movie inspired from epic Mahabharata 'Thalapathi' written and directed by the same genius ManiRathnam.
  • What I can say about the movie.....

    WOW, only Mani can make like this. I watched both version, simply superb, I love the tamil version. The music, picturization, editing, direction overall...speaks the Director new imagination. Oh yeah, the powerful star casts. Mind blowing performances.

    Did anyone feel "The Raavan" from Mani's view? WOW...... only Mani can touch that .... The modern RAM and RAAVAN...

    I watched both version...GO AND WATCH THE MOVIE IN BIG SCREENS..FEEL THE NEW KIND OF CINEMA

    I have read so many bad reviews for this movie....come on ppl ...

    i don't understand y people make a mindset with full of expectation for this movie. and y ppl comparing with his previous movies? Yes, it is maniratnum's movie. Forgot abt his previous movies. if the director make movies with mindset compare his previous work, i think mani's last movie is Roja.

    I really like the way he took challenges to giv new kind of cinema....

    make us to feel his new touch...his imagination, his technical skills,...

    Overall ,Raavan and Raavan is must watch movie ..feel the director new imagination, wonderful direction, strong powerful performance from main leads.

    I never thing so, any other director have this kind imagination, or make movies like this nowadays.
  • The much hyped Raavanan having released, I was one of the lucky few who got to watch it on the first day. The story in its most basic senses, is a modern adaptation of the Indian epic 'Ramayana'. But Mani Ratnam has brought to this movie a magical touch that would indeed change the trend of movies to come in Indian cinema.

    The movie is a tale of revenge and vengeance that Veeraiya (Vikram) unleashes on the people responsible for the death of his sister. To teach them a lesson he ends up kidnapping Ragini (Aishwarya Rai) and lures the cops right into his trap. Even though Ragini was his captive her attitude and approach towards things only makes his feelings grow stronger for her everyday ! The movie focuses on Veeraiya and all the multiple voices and thoughts in his head that refer to "Raavanan" from Ramayana. But only as the movie progresses do we find out his real character and the reason for such a transformation.

    The beauty of this film and the most appealing factor is the cinematography adapted. The camera work was so brilliant that it would make anyone stare in amazement at how beautiful they have shown each and every thing on screen. Not once was there a dull moment as the positioning and timing of every scene was in sync with every other aspect. A R Rahman has given life to the movie with the background music and songs he has to offer. The songs were timed so perfectly that not once would you feel that there was no necessity of a song being shown there. Watch out for the cinematography in "Usure pogudhey". And the bgm for each sequence being unique made you literally connect with the things happening on-screen !

    On a further note another technical point of excellence seen in this movie is the make-up and costumes used. Be it the black soot or sandhanam smothered all over Vikram's face or the many scratches and bleeding cuts on Aishwarya, the make-up department has done its best to make the movie look as realistic as possible !

    When it came to acting, needless to say the director Mr. Mani Ratnam brought out the best in each and every person cast in the movie. 'Veeraiya' would have been a disaster if it was portrayed by anyone else. Vikram outdid himself by giving his best performance till date. His aggressiveness and crazy mannered body language showed us that he was living in the character the whole time ! Aishwarya Rai Bachchan on her comeback to Tamil cinema after more than a decade has also pushed her acting skills to the limit. It is impossible to stop staring at her immense beauty and now, after her portrayal of the modern 'Sita' you just can't help but be in awe at how much she has to offer.

    Raavanan, according to me is one of the finest movies made in Indian cinema. And i urge all you people out there to go watch it as soon as you can !
  • Warning: Spoilers
    Been there. Done that. Watched Raavanan today. Was not bad, tho' could have been better. I sort of liked it i guess. Haven't made up my mind yet. Having said that, there was definitely some amount out of disappointment at the end! Vikram was splendid i felt. But few things seemed missing. For one, i felt Mani Ratnam needn't have to so strictly stick to the Ramayan story through out like the nose reference to Surpanaka (Priya Mani) and Monkey like behavior of Karthik (reference to Hanuman) At least I was happy seeing a slight deviation towards the end.

    Vikram really proved as why he was worth the billing. He was splendid throughout. Even though u feel that the movie might fall apart, you can never stop enjoying watching this guy act. He grunts, he shouts, he howls, he says that 'buck buck buck' ;-) He does everything in this movie to make that character work. I can't wait to watch his performance as Dev in the Hindi version. There was one thing that I couldn't avoid through out the whole movie. I always kept thinking how Vikram would have done that particular act of Prithvi in the Hindi version or how would have AB done a particular part of Vikram.

    Prithivi does a decent enough job as a tough cop. No one seems white/Black in this movie. Everyone seem to have a gray shade to their character. Dev is not all-good and Veera is definitely not as bad as Raavanan (from the Mythology) Ash surprisingly didn't look that old as she was from our recent memories. She even looked cute in a few scenes.

    One more disappointment was that few songs were never fully shown. Veera veera was part of the initial credits. Kaatu sirukki only had an old lady humming it once in the movie (wonder who it was!!!) I wanted to hear Shankar Mahadevan/Anuradha Sriram's version. Only 3 songs Kodu poatta, Kedakkari and Kalvare had some screen presence. Usire Poghudey had a couple of dialogues in between.

    The big plus of the movie was the Cinematography and the camera work (V. Manikandan and Santosh Sivan) which were ably supported by the splendid BG score by Rahman. I have definitely heard a lot of bad reviews for this movie and know that many people felt cheated and disappointed at Mani's work. As I said earlier, it could have been better. But I guess it works for some and doesn't for the rest. Whatever it is, it was definitely worth a watch for Vikram's acting and the way in which a bright and green rural India was shown through out.
  • A pure cinematic treat! Crime noir pulled off perfectly well without violence

    Its like watching a maniratnam film in parts. THe scenery of Roja, the retribution theme of Dil Se (Uyire in Tamil) , the atmospheric thrill of Thirudha Thirudha and the grand feel cast assemble of Yuva ( Ayudha ezhuthu in Tamil)

    This is a story closely resembling the real life character called Veerapan, a well known bandit of South India mixed with the classic story of Rama and Sita legend. Genius!

    and the bestpart of the movie is the atmosphere , it feels like one is really living the bandit character on screen, feel his emotions and know what he is thinking. Amazing.

    A group of criminals, a police manhunt, a lush forest and a woman caught in between. The visuals are extraordinary, the atmosphere is dark and moody, the plot is terrific and the action is mind bogglingly flowing without any bloodshed and minimal pyrotechnics

    This is a must watch either on big screen or in HD home theater. Watch the atmospheric visuals come to life with beautiful scenery of a lush jungle, with rain effect put to good use in all scenes...This is a gritty and thrilling drama of abduction, adultery, crime , a wild goose chase and a revenge tale rolled into one, all occurring in a middle of the worst monsoon season and surprisingly well crafted in equal parts carrying a strong flavor of crime film noir straight out from a David Fincher movie . Definitely not worth missing for the tight screenplay and excellent cinematography. The trailers don't do any justice to this film. It has to be experienced on the big screen

    One would love to think it cant be an Indian movie but though it is, it has little to do with conventional Indian film making antics but made as one that will challenge Hollywood with a genre bending tale with all the technical bells and whistles.

    Some critics may argue it is not maniratnam's best work, but definitely its Maniratnam's best turn towards a new direction ( Yuva, Guru) which no other director in the last few years have done. The feel of this movie is just marvellous ,natural and gritty. Of all maniratnams;'s movies , Raavanan is probably one that makes u feel the same way as as his other Roja and Kannathil Muthamittal.

    The film is another magnum opus from internationally acclaimed director Maniratnam. In case u haven't seen any of his well made films in the last 2 decades, its a privilege to see one , especially Ravana in which Maniratnam returns with a unprecedented bang at the box office
  • There is a terrifying sequence during Mani Ratnam's Raavanan, or 'Villain' out of the Tamil language and into the English one, that sees two hard-bodied men, both specialists in what it is they do either side of the line of the law, duking it out on board a delicate rope bridge hovering above a drop, which will bring about certain death, as its gradual falling apart syncs up with how much the two men's hating of one another escalates during this fight – such are the lengths you'd probably go for Aishwarya Rai. The sequence carries with it a great deal of both horror and trepidation, principally because it is as a fight to the death and we genuinely feel someone is going to get seriously hurt, but additionally because we are inclined naturally to get behind one man and yet are simultaneously invited to root for the other. This recent Indian film, about the good guy not necessarily being all that nice and the titular villain not necessarily being as evil nor as one dimensional as one would assume, is a sweeping and deeply involving piece; a film it is difficult not to get as involved in as I did; a film with a concise and interesting idea at its core, before efficiently going on to explore such items in an exciting and cinematic manner.

    We begin with a series of sequences highlighting a real disregard to police officers, or those of whom stand for law and authority; the merciless execution of several Indian police officials and the rampaging through their offices carried out with brutal precision. Those perpetrating the chaos are followers loyal to that of Veeraiya (Vikram), an influential and physically toned individual whom occupies lonely forestry up in the rural nowheres of India with his minions; a man whom the police so desperately desire to catch and someone who shares some back-story with that of local police chief named Dev Subramaniam (Prithviraj), against whom this war on the machine of law and order is effectively raged. Dev is equally inclined towards his job, carrying with him respective characteristics of influence and physicality only dedicated to fighting for the polar opposites to that of what Veeraiya strives towards. The existence between the two becomes particularly heightened when Veeraiya takes it on himself to kidnap Dev's wife, a Sita named Ragini played by the aforementioned Rai; thus kicking into action all sorts of strife and hard-edged plights which formulates the bulk of the film as Dev and a crack team of commandos plus one eccentric forest expert take it upon themselves to find her.

    Dragged through the jungles, Ragini's appearance as a smart, photogenic and outspoken woman amidst an array of disparate Veeraiya-led troops consisting of various unshaven; overweight and cross dressing individuals, is stark. She manages to hold her corner; to philosophise and later comes to instill some sort of thinking or order into the wild society of fear and gangsterism she finds herself enraptured in, a society encapsulated by Veeraiya's own uncontrollable characteristic of having several disconnected, sporadic voices inside of his head at once which is challenged. Principally, it is a film exploring the duality Ragini has with her captor; Mani Ratnam's piece a text rife with varying elements of Stockholm Syndrome pausing for thought and refraining form merely relegating Ragini to that of the damsel requiring rescuing. The film does so in providing her with scenes and exchanges that she shares with her captors that are full of life and energy; something that runs in deliberate contrast to that of the police and their searchings, which gradually become more and more anonymous as motions are gone through and sequences that we've all seen before of them hunting through wildlife, or whatever, are provided.

    Running with the same theme, the idea is captured by way of a terrific dance number at the bandit's jungle-set abode; a number which celebrates, despite their ways, individualism and a living of their own way of life with their own infrastructures and foundations - something placed into contrast to that of the officials and their blank nature and preordained demeanour, gradually becoming more and more anonymous in comparison to Veeraiya and his clan's exaggerated and spontaneous existence. A further instance of this subverting of the respective male leads and their personas is in Veeraiya's raiding of a local police camp; the uncovering of his file mugshot seeing him verbally identify the brooding, threatening anonymity of the hulking terrorist criminal in comparison to what he feels is truthfully there in relation to him.

    The scenes between Ragini and Veeraiya carry with them a real sense of shift and change in that, as she fights him and he subdues her attacks, his face brushes through her hair during a physical evading; something executed in such a manner that when Ragini has some linen brushed across her own face when another attack is foiled on another occasion involving Veeraiya, their sharing of the the same physical sensations born out of similar catalysts suggest an echoing of respective internal responses. In spite of my comment made in jest about what one would do to get Aishwarya Rai back, there is this burning question hanging over proceedings, even highlighted by those within, as to whether Dev chases the villain out of personal motivation due to his wife's taking, or professional levels born out of the fact he has hated Veeraiya for a lot longer than he has loved Ragini. The drama born out of this ambiguity, of which, works well. The film is a really involving; well made and taut thriller whose undercurrent of forbidden romance as the idyllic Indian wife is allured by that of the bandit, and he himself by a human he cannot push around nor merely tame, is set up and explored wonderfully well; a rousing and involving film one cannot help but recommend.
  • Mani Ratnam's Raavanan is a visual masterpiece, a great work of art and almost nothing beyond that. Till more than half of the film, it is about its marvelous cinematography, eye popping locations, excellent acting, technical perfection, polished and gritty narration and visualization and good editing.

    The story of Raavanan runs parallel to epic Ramayana but as the film progresses there is a bold twist to the original story. We are directly introduced to the central story with a nicely edited prologue. Veeraiyya, a bandit and a 'protector' figure for the tribal, kidnaps Raagini (Aishwarya Rai) wife of Dev, a senior police officer, to settle some scores. We are shown the past of Veera through brief montages shown in between. The love between Dev and Raagini is shown hurriedly within the space of a love song. The non linear structure of the narration is notable. From then on it is a long journey through the forest. We have a jumping & drinking Hanuman, a Kumbhakarnan, Vibheeshanan and Shoorpanaka in the film. There not much happening in the first half. Its the second half of the film that strikes a chord on you emotionally. This is where that bold twist on Ramayana which was being build up all over first half happens. One wonders who is Ram and who is Raavanan.

    After seeing Vikram act this role out, I am certain nobody could have done Veera any better(didn't see Raavan though). Aishwarya Rai looked enchanting, and has done justice to her half baked character Raagini. Prithviraj looked perfect for the role as a honest but ruthless cop. Acting was generally great. Cinematography was outstanding. The soundtracks sounded a bit weird in Tamil. I got used to the Hindi version (tracks were originally composed in Hindi, I think, as the Hindi songs were released a month before the Tamil). I loved them all especially folkish+electronic Ranjha Ranjha, Sufi-ish Behene De and a powerful but short Beera Beera. Some may say its not Rahman's best but I personally think its a very good album. Mani Ratnam, who was dubbed Steven Spielberg of India, has mainly focused on the style over subject. A little more hard work on the script was needed. It is made clear that Dev's hunt for Veera is not just about Raagini. What is it then? There wasn't a decent space to show Veera's love for Raagini, grow. There were a lot of things missing in the movie. But I was blown away by the visual artistry of the movie.
  • Warning: Spoilers
    Usually a Mani Ratnam film gets two reviews. Either Brilliant or Boring. But Raavanan is unique in the sense that a viewer cannot tag this movie under any of the two Bs. This film has got it all - Big time pre-release Hype, Technically astounding visuals, sensational music, exceptional acting from the Lead characters, powerful visual metaphors and the fascinating intellect of the director, yet one feels at the end of it all something critical is missing. Raavanan stands up tall, but one expected it to fly high, which it never does.

    Mani Ratnam's movies prosper in the Hype surrounding it before its release, but Raavanan needed less of these hypes. For once, it seems, the publicity has marred the grip that the screenplay could have otherwise had on the viewer. For, the story is just a modern adaptation of the Ramayana and almost all of us know what the epic holds in its stable.

    STORYLINE : The face-off between Dev (Prithviraj) an upright police officer and Veeraiya aka Veera (Vikram) is the central post around which the movie revolves. Dev is the usual clichéd police officer, bright, upright, honest et al. Veera, called Raavanan by all, is many things rolled into one. Fearless, imaginative, angry, intelligent, good hearted, he is all these and more, but what he is not, is being new to tamil cinema. Veera is the tribal version of Nayagan, a la God father to his people. The Dev -Veera battle gains an explosive premise with the kidnapping of Ragini (Aishwarya Rai Bachan) by veera and his people to avenge the death of Vennila Veera's sister(Priyamani). What happens hence is the story we all know.

    PERFORMANCES : For the record, Vikram has the role of his life and one must say he has performed with panache. That the role would have demanded extreme levels of skill and mettle is out of question. Aishwarya Rai is another actor that Mani Ratnam has used brilliantly. She shines in her part. Vulnerability, ferocity, grit, pain, she carries all these emotions admirably. The pair of veterans Prabhu and Karthik do their roles perfectly. The technical front of the movie keeps the viewer hooked. Cinematography deserves a special mention. The camera angles and the visuals are spell binding and the entire feel is poetic. Editing is top notch, yet the speed could have been bettered especially in the first half. A.R.Rahman has added real muscle to the movie. His belligerent tracks are already a rage. The re-recording is top notch. Where words fail, the Re-recording sizzles. Kudos ARR!

    DOWNFALLS : Movies like Raavanan need Dialogues of the highest standard. Powerful, precise and razor sharp. But sadly, Suhasini Maniratnam's dialogues range from, Weak to downright silly. The power of dialogues cannot be questioned and one wonders how come Mani Ratnam over looked this aspect of the movie.

    But the principle disappointing factor is the weak characterizations. Every character in the movie has a very frail flavor. The characterization is confusing. One feels Mani Ratnam is unsure of how he wants to project his characters. It doesn't help either when the director introduces sequences to act as metaphors of the Ramayana. Introducing Karthik as a tree jumping comic caper is Downright SILLY! In retrospect Karthik's entire role has been botched by the director's persistence to show him as Hanuman. Such irritating aspects of the film bring the appeal down drastically. Another huge problem with the flow of the movie is the reason for Veera targeting Dev. Revenge is totally baseless. Veera's sister's fate has nothing to do with dev, only the director has to explain why Dev's wife is kidnapped by Veera and once again the number 14 keeps cropping up senselessly.

    One wonders if Mani Ratnam bit off more than he could chew. In concentrating on making the movie in three languages, it seems the director's concentration has slipped and the screenplay and the story as a whole have suffered

    BOTTOMLINE : Ravanan scores high on the technical front. Direction, music and cinematography are un-matched. Yet, something somewhere pulls the movie down from reaching greater heights. The characters needed more definition, the scenes needed more pace and the dialogues needed to be more powerful, menacing and explosive.

    The movie scorches the screen in parts. Certain sequences are Vintage Maniratnam. No one can do what he does, better. The whole movie carries his intellect and his brand identity yet, summing up Raavanan is tough, for, no verdict can justify the product. But one can safely say, the Whole is lesser than the sum of its parts.
  • What a man seeks from maniratnam's movies. Not but purity, poetry, beauty, artistic intensity(Very few can reach such depths) and finally truth. What is his intrinsic authority to define what right and what is wrong?

    Some of his movies are fierceful with electrifying emotions and some are merely soulful and poetic like torrents of silent river with the dancing of light and shadow. May sometimes intellectuals and mob can't find entertainment from his movies. But few are with vibrant and sensible hearts with child's like enthusiasm could feel the power, depth and humility in his movies. He is one of the greatest artists of our time which world couldn't able to understand. He didn't get fame what he deserves. Like the poems of rabindranath tagore, as you muse and feel more and more you will get more spiritual experience from his movies. Like terrance malik's movies his movies dissolve with nature and poetic sadness and with life's music. They will open our hearts to life, love and beauty.

    For those who want to know what life are, what are morals, what is right and what is wrong. Are they prefixed and reformulated. Or shall we explore, question ourselves with abundance of love in our hearts towards the things of world to know ourselves what is truth. That journey is RAAVANAN. Few may don't like this movie because they may not get thrill from the movie. Only sheer poetry, exploration of truth exists in the movie. Master story teller's hands are as soft as ever. Though, for this movie those are more complex because those are now more simpler.
  • First things first. 'Raavanan' is not what everyone thought so. It isn't a contemporary adaptation of Ramayana. Instead, it's the Valmiki's epic meeting Shakespeare's Othello. The master filmmaker Mani Ratnam has apparently taken inspiration from these greatest works to narrate a gripping story in his own inimitable style.

    'Raavanan', right from the day it went to floors, has been rising a huge hype and hoopla. And expectations soared a never before high before its release. Does the end product lived up to all? To this question, the answer is- With a huge star cast chipping in with their best, mesmerising shots, crisp editing and riveting music, 'Raavanan' ends up satisfying the appetite of the masses.

    It has been a gripping narration from the very first frame. After 'Sethu' and 'Pithamagan', another side of Vikram's acting credentials is exposed. As Veera, he is at free touching almost every aspect of acting.

    Aishwarya is pretty and comes out with her best. Prithviraj and Priyamani have taken the challenge of being part of a Mani Ratnam's film and delivered their best. John Vijay walks away doing a negative role.

    Karthik as forest guard fits the role to T. His expression and body language are something interesting. Equally attracting is Prabhu. Munna as Vikram's younger sibling gets a meaty role to play, which he utilises well.

    The shots especially in the huge jungle, water falls, hot chase and stunts have been canned at their best. The tone and texture is amazing. All credits go to Santosh Sivan. Rahman's music is the highlight and it gets more sheen with the way it has been shot. 'Veera Veera...' and 'Usure Pogudhey...' still chime in our hearts even as we walk out of theaters.

    Running for little more than two hours, 'Raavanan' will go down in the history of Tamil cinema as one of the finest and best. Cheers Madras Talkies and Mani Ratnam for rendering a class movie that is racy and entertaining too.

    Watch only in theaters...............
  • Warning: Spoilers
    When I first heard that Mani Ratnam was making another film I was more than excited, when I heard that Vikram and Aishwarya Rai were acting in it I nearly flipped. Hence my expectations were extremely high. After I saw the movie I left the theater with a smile. Each of Mr.Ratnam's movies contain a different meaning. This showed that even the villain can become the hero, that even he can love,smile and be a human. The acting was simply marvelous and each of the actors had a special role to play. The cinematography was out of the world, the locations were pleasing to the eyes. One shouldn't go to Raavanan with Ramayanam in mind, one should see it as just another movie and walk in with an open mind-because it is simply not a remake of the famous epic. Most people find themselves bothered with the fact that Prithviraj(associated with Rama) is in fact not the "hero" but the 'villain' in this particular venture, but I think that twist is what makes this movie worth watching. AR Rahman as usual woos us with the music.

    On the whole it is a 8/10.
  • Warning: Spoilers
    Mani Ratnam was the only director in India, who handled melodrama in the most natural way; and that was evident in his films like Nayagan, Roja, Bombay, Alayipayuthe, and even the recent Guru. But after watching Raavan/Raavanan, I' am forced to rub off that very statement from my head, because right from the start, whatever happened on screen seemed to be contrived and artificial at most parts, with the very character of Raavan not even being properly established!

    Well, the basic premise, inspired from the Indian epic Ramayana is entirely predictable, but a taut screenplay would have done the job! When the Tamil version suffers hugely from a bad casting and a far from great performance from the usually dependable actor, Chiyan Vikram, the Hindi version excels in the performance section, but falls flat on the screenplay, which is a total mess in both cases! But as far as I have analysed, the Hindi version has a far better execution than the Tamil version.

    The cinematography by Santhosh Sivan oozes sincerity and demands a standing ovation; Santhosh Sivan's visuals add life to every dull moment, and remains the best part of this king size film. The DI is of international quality, and the expert colouring adds to the beauty. The music by AR Rahman is brilliant, but the background scores disappoint to a large extent! Veterian editor Sreekar Prasad saves the film from drowning down into the heavy rain forests, which is continuously wet! Samir Chanda makes every frame rich with his intelligent use of vibrant colours and art work. The actions scenes by Peter Hein are exquisitely shot with a lot pain and passion, which is evident on screen, as those are the only parts where the theater comes alive, with excellent use of Sound by Tapas Nayak.

    Abhishek Bachchan as Beera in Hindi outsmarts Vikram as Veerayya in Tamil, whereas Prithviraj surprises you as Dev in the Tamil version, and comes out with an edgy performance, which stands out and ends up being far better than Vikram's portrayal of Dev in Hindi, which is shocking, but true. Aishwarya Rai has nothing much to do, other than portraying a poorly written character! All other supporting actors, including Govinda and Ravi Kissen in Hindi seems to be more into the characters, and convincing than Karthik and Prabhu in Tamil!

    Leaving its negatives apart, the film surely has its moments. For instance, take a look at that scene, in which the character of Dev pierces the burning cigarette into a mere newspaper cutting! Well, that Mani Ratnam magic is hidden somewhere deep inside, but sadly doesn't come out. And moreover, each frame of the film is a separate, million dollar visual, which will take your breathe away; the credit goes largely to Mani Ratnam's vision as a director! Raavan puts you in a rather awkward situation, when you almost forget that you are watching a movie, and start rating the beautiful shots individually! And I have to admit that most of the film's major flaws went unnoticed by me during my first watch of Raavanan, and later on ended up noticing a few in the Hindi Raavan, mainly due to the above mentioned reason.

    In the end when you leave the theater, all you remember is the stunning camera work, the nerve pumping action scenes, and a little bit of brilliance spread out in the 2 hour 7 minute saga! Raavan falls short of the expectations, but indeed is worth the money you pay for the ticket. I give a generous three out of five for the Hindi version and two out of five for the Tamil version. Its far from being a classic, but nevertheless entertains to an extent!

    Hindi Raavan: 3/5 (Manages to entertain) Tamil Raavanan: 2/5 (Dull)

    PS: My rating is very very liberal, and that's mainly for the love of Mani Ratnam's film making style, which seems to be drowning away now; Raavan is just a stupendous piece of eye candy! Where are those subtle, dramatic moments, which used to fill our senses with pleasure, passion, gut and energy? Where are those smart dialogues? Where is the screenplay? Everything is missing here.

    ALTERNATE TAKE

    If I were Sreekar Prasad, and if the footage appears to be poorly directed, I would have opted for a simple, linear editing pattern for Raavan, rather than screwing up in the non linear pattern.
  • We know Mani Rathnam can handle epics quite easily and can twist it quite interestingly. Dalapathy starring Rajnikanth and Mamootty is the finest example. That is what I expected when I went to watch Raavanan. But watching the movie, I realized the story was never the center of attraction neither the direction of the maestro. What moved the movie along was the cinematography. Santosh Sivan and Manikandan have so effectively captured the beauty of the southern forests in the most mesmerizing manner.

    Coming back to the story, we find nothing new added to the epic except for the fact that the good has now turned evil and vice-versa. At the end of the movie, after witnessing the glorious work of the cinematographer, especially the climax scenes, we sense something missing altogether and the truth beckons on us that there is no credible storyline to the whole affair.

    SP Dev (Prithviraj) is on the look out for Veera (Vikram), a notorious tribal lord, a Robin Hood for many. He rules with his own laws and methods and this angers the police but are unable to do anything to capture him. To assist him there is Singarasu (Prabhu) and Chakkarai (Munna), his brothers. But soon something happens (revealed only in the second half) that makes Veera so revengeful that he kidnaps Dev's wife, Ragini (Aishwarya Rai). The rest of the story revolves around the Dev trying to rescue his wife with the help of Gnanapraksham (Karthick), a forest guard. The story moves on when the monstrous Veera starts a liking for Ragini.

    There was a time when I watched Nayakan, Iruvar, Roja, Dalapathy all with great enthusiasm and what I received from these movies were really great satisfaction as a movie buff. But watching this film with the same enthusiasm I felt robbed off all my money I wasted on the tickets. This is not a bad film but it is clearly not what I expected from a Mani Rathnam film. His direction has not proved anything with this movie. The old Mani Rathnam had style and substance in his direction but now what remains is just the style. Style alone cannot pace a thriller forward. The new Mani Rathnam has not provided anything interesting in this movie. It seems like the crux of the whole movie lies on the camera work.

    The acting of Vikram and Aishwarya Rai has to be applauded. They have given one of their finest performances. Vikram is like a vengeful monster who has kidnapped wife of the God-like figure on earth to settle a personal score. His performance is one of the highlights of the movie and which makes it watchable. It is a wonder we see such talent and beauty together and that is Aishwarya Rai; though her beauty is not of any relevance in the "plot" she has scored with a good performance. Prithiviraj as the tough cop has really matured into a fine actor. He has given a nice performance along with the other big names. Prabhu and Karthick have utilized their time on screen portraying their characters with ease and subtlety. Priyamani with her small cameo has given a memorable performance.

    But all this taken, at the end, we find the story to be clichéd and hope that the screenplay would have been better. The screenplay and dialogues penned by Suhasini Mani Rathnam does not show any ease or effectiveness probably because the story line is weak. By the interval time we feel exhausted at all that has happened but still we realize nothing has moved along. Second half proves better because of the short stint of Priyamani on screen and the final 15 minutes of the movie. And those 15 minutes is the only part in the whole movie that show "some" shades of Mani Rathnam direction. The characterization is so weak we never get time to realize the good has turned evil and vice versa or is it because it was so obvious from all the promos.

    A note on the music - AR Rahman is not at his best...but cannot say it was bad. It's okay and goes with the film smoothly.

    The plus point of the movie is cinematography, acting and the last 15 minutes….

    The movie deteriorates because of the absence of a fine story line and a poor screenplay which I believe are the most important materials in a film.

    It is not one of the best Mani Rathnam films and it cannot be called a thriller as there is no remarkable storyline to boast off and excite us. Watch the movie to see some good acting. But mainly, watch the movie to witness the amazing locales where the movie was shot through the eyes of Santosh Sivan and Manikandan, especially the last cliffhanging fight between good and evil.

    ~ dillitalkies.blogspot.com ~
  • If you like Mani's story telling then stop reading reviews and watch this film ASAP it's one of his best work in recent times. It's well known for a mani ratnam film it always technically shines and performances too the same thing happened with raavanan what went wrong in this film is audience expected something else from mani but he came up with an action drama where characters were written better than it's plot. That's it and the rest is at its best one of the finest cinematic experiences ever in the decade
  • santhosh-1029016 July 2019
    The movie was not so good. The story was vulgar in the movie. The Songs and BGM in the movie was good in the movie. The movie was boring and bad movie.
  • gowtham-7547428 September 2018
    Warning: Spoilers
    Wow . Great film with brilliant ideologies . Songs are good. Vikram acting is awesome..
  • Warning: Spoilers
    I saw this movie in a well equipped multiplex here in Hyderabad. Three things struck me immediately. First was the Cinematography. It was stunning. I wonder where and how they managed to get such a natural beauty. During break time, my friend reported that he wants to go to forest then and there. :) Of course I saw it a hundred times later, perhaps, and felt like writing a review, because how many times I watched it, the movie touches me with some or other aspect.

    The second is the music. Although, songs are not so great, the background music was excellent.. specially in the scene where Ragini tries to escape from Veera.Background music explains her helplessness.

    The third was Aishwarya Rai. I don't know if it was my eyes or the screen or the make up or whatever circumstances, she looked just WOW to my eyes. I felt I missed the beauty these long years. Not in a single movie of hers I liked her this much.

    There is no need to speak of Mr. Manirathnam. Dialogues should have been a lot lot better. A little bit of philosophy added through dialogues would have made it a marvelous movie (commercially also). When I first saw it, it touched me with a concept of blurred distinction btwn good and bad. Later it touched me with a concept that, if we know the reason behind evil, we'll pity the crime rather than punish it. Next time, it was that, a man gets his happiness only when he feels it. This is better expressed at a scene where Veera talks with Ragini near that Idol. Next Veera's death touched me. Why had he to die, and that too through Ragini. Next I hated that SP, but later I felt its wrong because he was doing his duty and meant to do it at any cost without any relations. Next I felt, a man when filled with hatred cannot think of love (when veera speaks to Aish that SP kept his photo to hers in his camp). Next I experienced Aish's feelings as to her doubt and insanity when she listens to veera's words. She doubts whether he really loves her. I experience Aish's feeling in her eyes when Veera leaves her to her husband, and when he returns back trying to find Veera rather than consolidating her. Finally, Veera's dialogues speaking how to choose good (I can leave you alive for your wife, and for the same I can help you. What do you want me to do?), and conveying his intention of doing good always in the past, present and future.

    To me its more than a film, a philosophy, a confusion and a feeling of interrogation of your own conscience.

    People who don't have heart, or can't think much about other's feelings, can't understand this movie. People who like me, liked the movie, try to watch out the above experiences and feel them. I am sure you'll feel them. Hindi version was too bad, too worse. Undoubtedly, the toughest role an actor can portray is this. Hats off to Vikram for showing various philosophies and ways of thoughts in just one character. He is the real Ravanan.
  • Warning: Spoilers
    Raavanan in Tamil is another masterpiece from ManiRatnam.. The Raavanan crew was good.. There's no story as such but i really enjoyed the way the movie was shot.. THE STORY IS SIMPLE.. AISH is kidnapped by vikram nd his members.. Prithiviraj a cop tries to find out Berra.. nd his wife(Ash).. Berra gets a crush on Ash.. nd blah blah.. the camera was @ zoomed range.. nd it's just like any other Santosh Sivan's work.. a.r rahman acts catalyst again... wow! the picturisation nd song @ background makes u feel good.. Vikram @ his best.. mostly 'll be nominated for national award. fingers crossed.. watch it.. just for 4 people nd not for story.and there's a surprise in the end..

    1)Mani Ratnam 2)AR Rahman 3)Santhosh Sivan 4)Vikram
  • Warning: Spoilers
    Exotic locations, impressive cinematography and powerful performances are the highlights of this movie. The stakes are naturally high, this being a movie from one of the front runners of not only Tamil but Indian cinema. So what is causing this to receive mixed reviews thus far?

    For one, Mani Ratnam has failed to develop some of the characters that have been a highlight of his earlier movies. You naturally expect Dev's (Prithvi Raj) character to be given more depth. However, Mani Ratnam fails to give due diligence to his role. At the end of the movie, you feel confused about him. Is he really the God, Rama, that his wife claims he is? Or is he just another police officer with no real human emotions?

    Second, it looks like Mani Ratnam has tried very hard to link this to the epic Ramayana. The tree-jumping of Gananaprakasam, Hemant pinching the nose of Venilla and even Veera addressing Ragini as "Natya-peroli" at one point (Natya Peroli Padmini has been synonymous with Sita for the role she played in Sampurna Ramayanam decades back)...you somehow feel all this is unnecessary.

    Something else that could have been done differently is narration. Agreed that the character of Veera is the most important in the movie, simply because the movie is titled after him. The relationship between Dev and Ragini is not given the necessary elaboration. It is very difficult to imagine Ragini as the wife of Dev. Yes, we know she is married.. but is Dev her husband? He seems more intent in capturing Veera than locating his wife. Does he really miss her? It is very difficult to empathize with Dev or his relationship with Ragini unlike what Mani Ratnam did to the relationship of Madhu and Arvind in Roja.

    Something that remains etched in memory long after you watch the movie is performance of Vikram as Veera and Aishwayra as Ragini. Power-packed roles and performances. You can't even imagine anyone else playing these roles. The locales and their performances together are mind-blowing. Prabhu, Karthik, Priya Mani and even Ranjitha provide fabulous support. You feel you live with these characters.. they are that natural.

    AR Rahman's background score keeps you immersed in the movie. Baring a couple, nothing much could be said about the songs.

    My final verdict.. Go watch it. It is worth the money you spend. Just do not expect it to have the standard of Mani Ratnam's more successful movies and you will not be disappointed.
  • I personally feel that this movie has paved the path for the "END" of the golden era of ManiRatnam.Every Indian knows the capability and brilliance of ManiRatnam. Though he has had some duds at the box office even in his previous attempts no one has doubted his mastery over films.But I am sure that every loyal "Mani fan" or for that matter any viewer expecting quality movies would be thoroughly disappointed on watching this "CRAP".

    A film will never be rated as "GOOD" for any individual(s).This film boasts of a great technical crew...Rahman , Shreekar Prasad, Santosh Sivan,Manikandan,Sameer Chanda....and the list goes on.

    I have to accept the fact that every one has been very professional and loyal giving their 100% for the film except for two ....."ManiRatnam" and his beloved and so called brilliant wife "Suhasini".

    The most important aspects of films in India are " Story, Screenplay, Dialogue". The story of the film is a known one and hence no point on discussing it....though there could have been some interesting changes which would have made a familiar story ,interesting.

    Then the screenplay.I heard this "crap" by one of the members of technical crew after the film failed at box office ,saying "Mani wanted the viewers to have their own interpretations "- meaning ... the viewers were not good enough to understand the technical brilliance of Mani.WHAT A CRAP!!!!!!!!!!!!

    Then come to the outrageous and melo-dramatic,old fashioned ,irritating ,bla bla bla....dialogs.This would have summed up my point.I assume.The funny part is "SHE IS IN THE LINE TO DIRECT YET ANOTHER CRAP". OMG!!! save people..

    Now at last to acting.I am personally very disappointed to discuss this part at end....so has been the negatives of the film. Though the characterization of the actors is still a question mark there is no doubt in the part played by the actors.

    Vikram and Aish were equally brilliant and awesome and the chemistry really did work well.And others too did justice on their part.

    This is the first time ... I don't feel sorry for being critical about the film and the technical crew.So much were the expectations!!!!!!
  • Warning: Spoilers
    Manirathanm's "Ravanan " a perfect example of self-indulgence at it's pinnacle. One is at loss of words when such a pathetic writing comes from one of the legends of Indian cinema.

    It is a good idea to recreate an epic in it's modern interpretation only if it is plausible to the situations &scenario the writer has in his mind. "Dalapathy" is a good example for that. But if the writer starts at making a movie with the one &only aim of doing a modern day adaptation of the epic & all the situation and scenarios are forced into for that end we get to see only such half backed & unpalatable attempts like this movie or for that matter the recently released & very over- rated "Raajneethi".

    The movie boasts of one of the best visuals that we have seen in Indian cinemas yet. It has first class acting from all the actors concerned.But the movie gets let down by a very average writing both script as well as dialogs.

    Second half at least had some semblance of sanity in it but the first half is as wretched as it may get.To make the matters worse Suhasini's dialogs are horrible with people then & there mouthing different dialect as they wish. Prithviraj asking for a lie-detector test on Ashwarya Rai will go down as one of the most hilarious moment (howsoever unintended it may be ) in Indian cinema.

    Ambiance , attires as well as the backdrop all look alien to Tamil culture & ethos which reminds us of that misadventure Maniratham & Barathiraja ventured into , "Tajmahal".

    Vikram has done his part well but his role is shoddily written. Whether he is a normal person or a maniac with hallucinatory behavior is anyone's guess.

    Ashwarya must have worked hard for the role with all those risky shots in such a unfriendly terrain but as far as acting goes she has nothing much to do with her wooden face to make the matters worse.

    Prithviraj's role is another example for the bad writing the movie plagued with.As far as others go Prabhu, Karthik & Priya Mani have done well.

    The main attraction is the cinematography ,credits shared by Santosh Sivan & Manigandan. The manner in which they have captured not only the nature's splendor but also the human vulnerabilities is a poetry on celluloid. If only they were backed up by a solid writing things would have been even better.

    A.R.Rahman's music is average .His music for Maniratnam's movie seem to have fallen to a pattern which he must address in the future.

    On the whole, "Raavanan" is a complete letdown.
  • Warning: Spoilers
    Raavanan, is it really an open ended movie? Let's discuss!

    Prerequisite: Should have watched the movie Raavanan.

    As Mani (The Director) puts it, this is a story between the hunted (Ragini), the hunter (Veera), and the haVED (Dev). The movie clearly shows that in the eyes of Ragini, the opinion about Veera is a continuum, moving towards positive shade. But what is the limit of this continuum? Is it mere affection towards Veera or something more? How does Dev's portrayal travels in Ragini's perspective? Does Dev carry "the lovable husband" tag always until the train/trick scene? Although Dev has a negative shade* even before that, we need not assume that Ragini be aware of it, as she was purposely (read cleverly) avoided in/about those instances.

    So, to answer the key questions above here is an interpretation of the climax where Ragini waits for and meets Veera. In this scene, Ragini's intent to meet Veera is to clarify/question what Veera said to Dev and why. Veera gives his version of the bridge fight. In the fight, Veera has an upper hand and could have killed Dev, comfortably. He knows that Dev could come back and get him later. But for Ragini's sake he saves Dev. Valuing Ragini more than his life. On the other hand, Dev has been depicted in getting Veera through any means, including by tricking Ragini. Among these characteristics, obviously Veera is expected to stand out in Ragini's heart. That is the moment of love, the one curbed by Ragini for Veera until, which is emphatically expressed by her in Veera's words, "Buck Buck Buck Buck, Buck Buck!." So, here is where Mani shows that the pendulum (Ragini's dilemma) swing towards Veera. Eventually Veera gets killed, in spite of Ragini's effort to save him. To put this love in poetic words, when Vee"RA"ends, "RA"gini begins.

    So, the limit of the continuum is the opening up of the flood gates of love by Ragini towards Veera through "Buck Buck Buck Buck, Buck Buck!". Moreover, Veera's plead for Ragini's love is uttered through the song/words "Usuray Pogudhey" initially. In the end, Veera understands/complements Ragini's "Buck Buck …" by saying, "Usur Vandhurichu". Yes, the limit of the continuum is "LOVE"!

    This movie is definitely worth your "Buck Buck Buck Buck, Buck Buck!"

    ****

    * Scenes depicting negative shades of Dev: 1. Sakkarai, the mediator gets killed by Dev. 2. Vennila's husband when pleading for life (hand)in excruciating pain, being tortured by Dev, than being offered help. 3. Dev's continued association with Hemanth, although the latter is responsible for Vennila's rape.

    Some Nu(is)ance allusions to Ramayana? 1. Raptor in Ragin's boat:Garudan? 2. Bridge, Ram-Sethu bridge? Dev/Ram-Sethu/Vikram/Veera bridge?

    *END*