The aforementioned son of Vishwanath, Sanjay (Suriya), is the billionaire who is suffering from a lineage problem. He has sworn to never get married, and the film’s first half is made up of many scenes where his mother arm-twists him into bringing them an heir. Instead of interpersonal dynamics between mother and son, we get ridiculously over-the-top visuals to show you their wealth, just in case you missed it. It’s a family drama after all, and a large portion of the film is set in their huge mansion. But instead of asking the art director to erect a set that looks like a house, the instruction seems to have been to recreate a Bauhaus airport to double up as Sanjay’s mansion. As we try to focus on seemingly important things like dialogue and plot, it’s easier to imagine James Bond villains using this house as their preferred Airbnb.
This lack of subtlety in all aspects of filmmaking gives you the feeling that you’re either watching a jewellery advertisement or a big-budget television serial. The lighting feels flat and jarring, with the usually dependable cinematographer Nimish Ravi not able to do much with the source material. The writing too lacks any narrative smoothness, with sub-plots and characters popping out of nowhere. In one scene that’s set in a restaurant, you’ll feel clueless if you try to place it within the larger context of the story. It’s a Suriya film after all, and the only way one can overlook such senseless detours is to call it an obligatory fight scene for a mass action hero.
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