‘Bommai’ movie review: A fantastic SJ Suryah can’t save this mediocre story – The Hindu
When the love of his life abruptly disappears, a person lives in denial as his psychological well being takes a toll. That’s the one-liner of Kamal Haasan-Rati Agnihotri’s 1980 traditional Ullasa Paravaigal and it additionally kinds the bottom for Radha Mohan’s newest movie Bommai, starring SJ Suryah and Priya Bhavani Shankar. The legendary ‘Dheiveega Raagam’ observe from the yesteryear movie, composed by Ilaiyaraaja, will get a brand new rendition in Bommai because of his son Yuvan however the similarities between the movies cease there.
In Bommai, SJ Suryah performs Rajkumar, a model painter whose artwork makes the dolls look as actual because the people they’re made to emulate. When he skips the prescribed psychiatric medicine, he sees his misplaced childhood sweetheart Nandhini in a model that has a ending defect on its face resembling Nandhini’s mole. The lengths he goes to get again his misplaced love is the story of Bommai.
Bommai (Tamil)
It’s no secret that Suryah is an amazing performer; in simply the final 5 years, he has showcased his mettle no matter whether or not he’s enjoying the villain (like within the case of Spyder, Mersal, Nenjam Marappathillai or Maanaadu), a supporting character (Don) or the hero (Monster and Vadhandhi: The Fable of Velonie). However the distinctive story of Bommai, mounted fully on its lead forged, is the right platform for him to go bonkers and that’s precisely what he does. His little makes an attempt at getting again Nandhini really feel like small victories and each single time he fails, it tugs our heartstrings.
On the opposite aspect, Priya delivers one among her greatest performances in latest occasions. Although that’s a comparatively easier benchmark to realize given how little significance her characters have had in the previous few movies she has starred in, Bommai presents her a fairly expansive canvas. Given how Nandhini is a figment of Rajkumar’s creativeness, she not solely asks the questions that Rajkumar already has the solutions to, however she additionally turns into an extension of his true self. When he will get indignant, she calms him down and when he feels helpless, she will get enraged. That chemistry between the leads jogged my memory of Combat Membership, aside from the apparent Guna (one other Kamal Haasan movie) you could’t assist however draw comparisons with whereas watching Bommai, and some different psychological thrillers like Kadhalil Vizhunthen. The most important energy behind the digicam is undoubtedly Yuvan’s songs and background rating. Aside from the ‘Dheiveega Raagam’ rendition that’s each angelic and daunting on the similar time owing to the movie’s use of it, the ‘Mudhal Muththam’ observe in Yuvan’s voice is a tune that ought to’ve been viral by now.
SJ Suryah in a nonetheless from ‘Bommai’
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On the flip aspect, the movie, sadly, has quite a bit going in opposition to it than for it. For starters, the plot, regardless of being poignant, is extraordinarily skinny to justify the movie’s runtime; the movie is stretched until it’s cinematically unimaginable to make it any slower. Aside from the lead actors, the remainder of the characters are painfully uni-dimensional. There’s Priya (Chandini Tamilarasan), a personality who’s keen on Rajkumar however by no means will get closure. A person will get killed who is claimed to have hyperlinks to organ buying and selling and it leaves us hoping that can get linked to the youthful Nandhini’s kidnapping story however that subplot will get buried together with him. We’ve additionally received the standard hero’s pal who would go to the extent of visiting Rajkumar’s therapist extra usually than the affected person himself. Then there’s a retailer supervisor whose job solely consists of sexualising mannequins and being a creep to the ladies workers.
The scenes involving the lead make for a few of the greatest moments within the movie however that’s not all Bommai needs us to focus on. There’s additionally an investigation angle that feels nearly like a spoof of the cop-based thrillers our movie business is churning out at common intervals. It’s laborious to imagine that humour, one among Radha Mohan’s strongest fits, fails to work in Bommai, regardless of coming proper after his criminally underrated comedy movie Malaysia To Amnesia.
Bommai, regardless of an intriguing premise, falls prey to the cliches of melodramatic love tales. Regardless of a few of the greatest performances from the lead pair, cliched and predictable writing makes the movie fall flat like a rag doll.
Bommai is presently working in theatres
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