| Director:
Shankar |
 |
|
Cast: Rajnikant, Shreya, Vivek, Suman, Cochin Hanifa,
Raghuvaran, Livingston, Solomon Pappaya |
|
Genre: Social Drama |
 Two
years after the release of his blockbuster 'Chandramukhi'
comes the superstar's new release 'Sivaji - The Boss'. About
one-and-a-half years in the making, the film has generated a lot
of hype and was awaited with great expectation. It's a Rajnikant
film and that one reason was sufficient enough. But added to
that was that it boasted of some of the best talent of Tamil
cinema. Rajni, Shankar and Rahman, all packaged under the banner
of the prestigious AVM. But, unfortunately, the film fails to
live up to the hype,,and turns out to be a disappointment. For,
it turns, out to be neither a Rajni film nor a Shankar film.
The
story centers on Sivaji who returns from the US to India with
the noble intention of founding a chain of educational
institutions which would charge no capitation fees, making
education more accessable to all. Sivaji has to go through red
tapism and corrupt officials and ministers before he can start
his project. And there is Adiseshan, an unscrupulous
businessman, who, perceiving a threat to his own set of
institutions, tries to thwart Sivaji's efforts.
 When
his bid to coax him to backtrack fails, Adi, the self styled
king-maker, uses his nexus with the politicians and the cops to
intimidate Sivaji. Sivaji soon finds himself behind bars, with
nothing left to call his own. Except a one rupee coin thrown
tauntingly at him by Adi. How sivaji gets back at Adi and
rebuilds his empire forms the rest of the plot.
The actor who gets the most
mileage in this whole scenario is Vivek. Playing Sivaji's
sidekick, Vivek gets the best lines (of Sujatha's). The actor is
in his elements, and manages to pep up the scenes in a lagging
first half. Solomon Pappaya adds to the fun moments. Suman makes
a comeback as Adiseshan, the bete noire of Sivaji. Looking good
in a white dhoti-kurta and underplaying his role, it's a suave
Adi we get to see here - even though most of the time all that
Adi gets to do is walk in and out of rooms in long strides, like
he was ramp-walking for a dhoti ad. Cochin Hanifa is another
actor who leaves his mark.
 Shreya
plays Sivaji's love interest, the traditional simple belle.
Adequate in whatever she was expected to do, the actress sizzles
in the dance numbers.
Rahman is not at his best here,
nor are the song choreography and picturisation anything to rave
about. One can pick out the 'Sahana...'number, on Rajni-Shreya,
mainly because of its excellently designed set of a glass palace
(Thota Tharani), filmed impressively by K V Anand's camera. In
fact, it's the Tharani-Anand factor that makes the film
appealing, both in look and mood.
Shankar has made Rajni more
sophisticated than the Superstar has been projected in his
earlier films. But it's a very weakly etched script, more of
gloss and style than substance. And the message is nothing new,
but Shankar's usual one - of rampant corruption in high places
and the cleansing of the system by the hero. The setting up of
educational institutions seems merely a peg to tag his favourite
message on. And somewhere on the way, Shankar gets slightly
confused.
 Scenes like Sivaji's unearthing
of black money through intimidation, the trip abroad and his
hawala transactions to turn it all into white, are scenes that
show a totally confused Shankar. And this confusion, of the
demands of bending to the logic of a Superstar film, is evident
throughout.
Rajni looks good and more
youthful compared to his earlier films. The Superstar has his
own style and charisma, and needs no outward embellishments or
accessories to enhance it. Only a role, solid and suitable, to
express his style. His designer wardrobe (Manish Malhotra) is
trendy, even funky at times. Different and more sophisticated
than his earlier wears. The camera and the make-up do their bit
to catch him in a flattering light.
 But what is important and is
missing is substance and depth in the characterisation of his
role. For, Sivaji has not much to do here. The punch lines are
not many, nor forceful enough to send his fans into a frenzy.
And when he does get his one big fight in the end, it's more of
graphics that take over. A bit of the 'Matrix' here. His bald
look towards the end (where his enemies think he's dead and fail
to recognise him!) sits well on the actor. But one is left with
a feeling that the Rajni-factor could certainly have been better
exploited.
Produced at a cost of about Rs
65 crores, 'Sivaji' is the costliest movie made in Indian
cinema. But a lavish canvas can hardly compensate for the lack
of a sound strong script.
Malini Mannath
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