Theeran – A Defining moment for Karthi


With a toned body already in place after Kaatru Veliyidai, Karthi’s Theeran Adhigaram Ondru was in the making for a few months now, with interesting visuals of him as a Cop, his second after the infamous “Siruthai”. I was keen to see what was in store and ensured I watched the film on the first day in the evening. Boy, I wasn’t disappointed one bit. The film is apparently based on real life incidents and a big round of applause to Director H. Vinoth who is directing only his second after the hugely popular cult thriller “Saduranga Vettai”. For a second film, must say he has done a great job behind the camera.


The film starts slow with a few romantic scenes set-up in the mid 90s. I was a tad disappointed that the Director has shown a Royal Enfield Electra in a scene depicted in 1999 when the model was not around. Also, the walls of a small village near Tanjore where the family scenes are shot show a poster of the Vijay-starrer “Shahjahan” which was actually released in 2001. I was wondering if this is going to be another juvenile attempt by the Director who hasn’t probably paid attention to detail. Thankfully, these were the only two scenes that distracted me. Thereafter, almost every scene was gripping and had so many minute details right from the arms used by the serial killers to the villages they hailed from and their history. Hats off that Vinoth has pulled off such a detailed note on the forgotten past and also for showcasing it so nicely. When there were instances of “Finger prints” of the accused (in the trailer), I was wondering if this would erupt another controversy (like Mersal) but this time around Aadhar, but thankfully that was not the case to be. The Producer seems to have been liberal with the Director to ensure a good part of the film to be shot in and around Jaisalmer where the crucial elements of the film revolve. The wolf strategy, among others was very interesting and a great learning as well.


Karthi, unlike his elder brother Singam Surya is sophisticated as a cop. He is not the usual (masala) policeman but carves a niche for himself in Khaki. His maneuvers, while alternating between a cop and husband are well portrayed. His energy as a cop is astonishing and builds his image as a young and ruthless cop ready to take on anything that comes his way. And his sarcasm, as attractive as always. Rakul Preetsingh is a cute heroine but the film could have even done without her given that her role was so insignificant. May be not. The revenge of Theeran gets intensified perhaps because the baddies harm her.

Thankfully no mainline sidekick or a comedian although I dreaded Sathyan as one. However, too many characters in the film in general, which a lot of new age Directors somewhat like, I don’t know why. May be I am growing/maturing as a film critic that I prefer to see fewer characters but each play a great part.


Ghibran is undoubtedly getting better with each film. The BGM, especially the last one-hour, adds fuel to the furore of the film. The Director has experimented once again with the songs playing just in the background even as the lead actors go about their regular work – sort of interludes. But the songs have been well received on Online Music Apps and are among the Chartbusters. Felt satisfied that I watched an interesting film after a long time.  Am sure the BO will speak numbers this time for Karthi. Don’t miss watching it on a big screen.

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