Pogalam yenbavan yejaman, va pogalam yenbavan thalaivan (The one who says let’s go, is the master, whereas the one who says come, let’s go, is a leader). Superstar Rajinikanth not only mouths this powerful dialogue, but he also dons the cape of a leader and leads us into rooting for his relentless determination, he takes us with him on his journey and how!
Maharaja Rana (Rajinikanth) goes on a quest to avenge the betrayers of his sincere father who scarified his life for the nation – playing a strategized role an honest Army chief and shuttling between two kingdoms – a few plot twists that resemble his earlier films Muthu and Padayappa – but this isn’t a bad thing, it stands out clearly because of its clever backstory.
For an instant, we see Rana devise a plan to free the captives, and we are aware of his well-planned motive behind this move. Writer K.S.Ravikumar has clearly demonstrated this determined aim in the flashback where Rana oversees the shaming of his father. The film also has its clear share of twists, that fully engage the viewer, along with its surprise elements – revealing a tad-bit more would be deemed as a spoiler, it’s better left to the audience to feel the pulsating moments.
The performance capture technology used in the film, which is the process of recording a live motion event by actors and translating into a digital performance, can be deemed as a worthy and ambitious attempt in Indian cinema. We see the hair strands of princess Vadhana (Deepika Padukone) move as the breeze catches up, we also see the majestic sleeves of Rishikodagan’s (Nasser) attire shift, as he gives orders, or to see the royally-designed pieces of jewelry move as the dancers perform. The synchronized performance of the princess and the white peacock is noteworthy. Neeta Lulla has done an exceptional job with the costumes; the attire designed for a specific actor is embellished with artistic embroidery and zardozi work. It also shows the painstaking effort of the technical team who brought this detailed work of art to life.
A.R. Rahman’s music cascades beautifully in this period film, he has woven magic with his background score, especially in victorious moments, and he has also rendered some fine soul-stirring melodies. Vaali and Vairamuthu’s spellbinding lyrics etch the songs in our minds.
When Soundarya Rajinikanth initially announced her 3D motion-capture film starring her father Rajinikanth, the world was harsh on her. Laughing off the very concept of this technological innovation and if she was capable to deliver it as per Hollywood standards; but the main reason this disapproval aroused is purely because their ideal superstar Rajinikanth is portrayed in an animated avatar. But it looks like the last laugh’s on them, as director Soundarya Rajinikanth has not only made an earnest attempt in the area of filmmaking, but has also portrayed Rajinikanth in the quintessential superhero avatar. With his trademark moves and impeccable punch dialogues, Rajinikanth receives whistles galore and leaves us wanting for more, it is needless to say that all this is possible by only one star and that is by the superstar himself.