Vanangaan Movie Review

The Introductory scene of our protagonist (Arun Vijay), a man with hearing and speech impairment, where he confronts a bunch of rowdies for abusing transgenders offers us a couple of clear impressions on what’s the film is going to be all about. The first revelation is that its a role loosely traced from Bala’s all time classic hit ‘Pithamagan’ Vikram character and the second fact is that he is going to carry the entire film by hurting the weaker section of the human race.

Yes, we all appreciated it in many situations for throwing lights on them, as in Naan Kadavul and Paradesi. However, what Bala seems to have likely forgotten is that his previous movies had strong emotional plots. If you’ve any doubt or just unaware about who Bala is, look into his filmography and summary of movies. Nandha – A Man’s unending quest for mother’s love culminating with a brutal act, Pithamagan – Unlikely bonding between a conmen and an undertaker in cremation ground, Naan Kadavul – An Aghori’s return to his native and his act of saving the underprivileged innocents, and why not bring ‘Nachiyar’ and ‘Paradesi’ into reference. In all these movies, ‘Emotions’ was the core element, and Bala managed to add his dose of violence or tragic aspect to it. However, with ‘Vanangaan’, things have turned out to be upside-down. He has to failed to nail it perfectly and has come up with a weak story blindly banking his trust on concept of ‘Victimising the weak’ and gaining sympathy out of it, thereby letting the protagonist vent out his fury. Unfortunately, lack of proper screenplay leaves us restless and bored throughout the film.

The whole first half keeps us clueless where is the story progressing, and the conflict opens only by interval. The post-interval scenes are too predictable, and despite the director’s ability to bring in familiar faces like Mysskin and Samuthirakani, it doesn’t help the film from sinking.

Nonetheless, what needs to be appreciated is the unconditional dedication of Arun Vijay and Roshini Prakash. Mysskin’s cameo is good, and Samuthirakani’s character is okay.

Bala’s smartness in delivering religious sarcasm was appreciated in all his movies, but he seems to be purposely injected it into this movie for no reason.

Sam CS’s background score is commendable, and his hard work is evident in every single scene. GV Prakash’s melodious numbers are soul-stirring.

Overall, it’s high time Bala unlearns and tries to explore the unexplored. He has already delivered emblematic masterpieces, thereby letting many amateur and upcoming directors to get inspired by his work. However, it’s disappointing to see that he has started replicating his own movies again.

Hope he bounces back soon.