As an interpretation of the Kannada film Lucia, Enakkul Oruvan works a little. It is a simple enough story, of course. Of a man who wants to become a star. And a superstar who seeks a ‘normal’ life. The Lucia pill promises a bit of both. Two vastly different lives …on a different plane.
Prasath Ramar may have visualized Enakkul Oruvan as a romance with a touch of fantasy. But it isn’t the conventional kind that holds in this version. More than the snatches of romance between Vignesh and Divya, the touching moments between Durai (a superb Naren) and Vicky, theatre owner and usher, are far more appealing.
That’s the kind of love that lasts beyond strife.
Packed into this conflict between dreams and reality, is some witty commentary about filmmaking today. Its idiosyncrasies and tropes are shown for what they are, and make for some hilarious sequences. For instance, in the scene in which Srushti Dange’s Thanushree is questioned about her inability to dub for herself, the actress, who’d offered herself to Siddharth (in flawless Tamil) in the beginning of the film, lapses into broken Tamil.
For a film that attempts a spoof on conventional tropes in cinema, it is surprising to see the way Deepa Sannidhi’s Divya has been portrayed. As an actress, she abandons her love for a shot at stardom. As a pizza delivery girl, she is turned off by Vicky’s (poor) job prospects and inability to speak English.
Women… Prasath Ramar can be heard muttering to himself.
Siddharth draws us into the film. As the superstar aching for privacy and unconditional love, he is at his best, but as the ‘torch guy’ Vicky, he falters initially. The dialect and dark-face takes a while to get used to.
And when his relationship with pizza delivery girl Divya takes off, the film becomes better, with sweet little interludes that make us smile. A far cry from the urbane lovers Siddharth usually plays, this seems a daunting prospect at first. But he quickly masters it. The moments involving darkface Vicky are whimsical in an otherwise dark film. But Prasath Ramar lets loose John Vijay in these scenes, and he’s wonderfully wacky.
Thirukumaran Entertainment’s retinue of actors make an appearance here as well. Aadukalam Naren has a crucial role to play in the proceedings, as does Ajay Rathnam as Paranjothi, a police officer annoyed at some unnecessary interference in his case. The Thegidi villain plays a doctor in this piece, while Ramdass who was a revelation in Mundasupatti, dons a serious role and looks ill at ease.
As always, Santhosh’s background score elevates the film; as do the crowd pleasers – Prabalamagavey and Yendi, superbly shot and with some cool moves. Leo John Paul’s editing is an integral part of Enakkul Oruvan’s success as well. The non-linear narrative of the film works purely because of the way the editing has been handled.
The movie bears all the hallmarks of a CV Kumar production – a screenplay with a difference, top notch technical team and sterling performances from the cast. Yet, it is difficult to shake off the disappointment that lingers when the credits roll. All that talk about English knowledge and ‘space’ aside, it is an engaging enough movie. But not one with a lot of heart. And definitely not one that should be (unfairly) compared to the original. These are two very different films after all.
The Enakkul Oruvan Review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have an advertising relationship with movies that are reviewed on the site.