Imagine a film where a hero who is out to outsmart/eliminate an 'asuric' villain has to prove his heroism by driving super fast, to no much avail, that too at a crucial juncture and that too as the best-hacker-in-the-country female lead is wowed at all that, that too after leading a horrible life. To what end? In a moment that could be a Rajinikanth joke, our RAWjinikanth hero seeks to enquire a Minister of Malaysia and asks for two minutes to extract the truth. After all, none can solve the problem in this way (that is, by beating up the suspect) even as mankind helplessly stares at the biggest-ever terror attack in a few hours from now!
The humanity is out to face the greatest ever danger from a self-confessed better-than-Hitler villain (Vikram as Love). And this Love manages to have a free run because there is no sketch of him with the cops even after the super-intelligent RAW officer Akhilan Vinod (Vikram, again) and many others have seen him. Want 'anthaku minchi'? He is caught and arrested, but the way he escapes was probably seen for the first time in a 1960s era movie. The villain is a desperado and this is how you show him escaping successfully because the Malaysian authorities are the most impotent. To hell with creative liberty.
Treating an earth-shaking problem like terrorism as if it were a child's play, the writer goes about bombarding the audience with inanities. Does cinema have to be that glib?
As the film begins, a 70-year-old man attacks the Indian Embassy in Malaysia after breathing in spray from an inhaler. Malik (Nasser), a RAW officer, ropes in Akhilan Vinod, an ex-RAW agent, to nail the culprits. Akhilan, after all, had dealt a body blow to Love during a successful mission in Kashmir four years ago. Least does he know that he is very much alive and is out to wreak a Hitlerean havoc. Akhilan has to race against time before an adrenaline-powered team of desperadoes maim thousands.
Director Anand Shankar follows a commercial format baptized in Kollywood-style comedy and heroism. Even in the middle of second half, even after establishing him as a ruthless enemy of humanity, Love's character feigns agony (as 'dappu' sound plays in the background) and wear a nurse's dress apparently to evoke laughter.
If the villain's character (and the characterization as a feminine pervert on steroids) is strong, Akhilan's character comes with its share of unexceptionable flaws. His eyes show intensity, but the lines he speaks are insipid.
Since it is a Kollywood flick, 'Kanne Veede' can't be expected to be avoided, but its placement could have been better. There are also a few glaring flaws with respect to the casting. For example, the doctor, played by Karunakaran, (whose stealthy lab is stormed by Akhilan's team) working for Love's shouldn't have been a comedian. When the compulsive desire to show comedy hijacks commonsense, this is what happens.
Nayanathara as a fellow crusader glams up the proceedings here and there, but the romantic track is a let down. 'Halena' is enjoyable. Nithya Menen fits the bill and her body language is apt.
Vikram shines through like an ace. Watch out for his Love act. He doesn't show run-of-the-mill expressions anywhere and is a class unto himself. As Akhilan, too, he is convincing.
Harris Jayaraj’s songs pass muster, while the RR is a high. Cinematography by RD Rajasekhar is top notch. Bhuvan Srinivasan has done his job as far as smooth picture flow is concerned. Fight masters Anbu Arrive and Ravi Verma have staged some fast-paced action sequences which are a major plus, while the art direction too is worth a mention for the authentic laboratory setting and the villain’s lair.
Verdict: A serious subject told in a glib fashion. Vikram's stellar performance as Love stands out. Creative liberties have been taken too far.
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