Eeram

Eeram, Banner: S Pictures, Production: Director Shankar, Direction: Arivazhagan, Star-casts: Mirugam fame Aadhi, Nanda, Sindhu Menon, Saranya Mohan, Sreenath and others. Music: Thaman S

Flakey supernatural thriller – possibly, this could be an apt mark or verdict for ‘Eeram’. It’s good to witness new and innovative conceptualizations rendered by our filmmakers, but that doesn’t credit all honors to them. Precisely, ‘Eeram’ being a film under such genre carries lot of copycatted sequences from various Hollywood and Japanese horrors.

So, what would be the clear-cut definition about Eeram? Arivazhagan brings us a clichéd tale of horror where ‘seeking revenge of innocent soul’ factor dominates all throughout the show. Much incisively, it reminds us off ‘Final Destination’, ‘Mirrors’ and more.

The film opens up with Ramya (Sindhu Menon) found dead in bathtub at her apartment. On the call of watchman who witnesses the gruesome scenario, cops reach the spot. It’s Vasu (Aadhi) invited by his pal to have a detailed look into situation. But, he’s completely broken down in spirits to find Ramya in such a situation and we are revealed that both of them were in love during their college days.

As they find a final note penned by Ramya that she has committed suicide, cops have nothing to mark other than closing the file. But Vasu has his own inherent aptitude that there’s a mystery behind her death. He leaves nothing behind his suspicious act of inquiring Ramya’s husband Prabhu (Nanda) – dashed down in his spirits, her neighbors who comment that she had an affair a stranger. On the pars, the story flashes back from Vasu’s perspective of his previous days with Ramya.

But instantly, the story goes through turn of events as the neighbors, a stranger and apartment’s watchman are killed mysteriously.

Now, Vasu sets on the run of serial killer responsible for these murders.

Nonetheless, he has no clues about the murderer except his weapon - Water…

On the opening note, director Arivazhagan starts off the film with a slow-paced touch that lacks substantiality. However as the murders takes places one after the other, especially the one at Udhayam theatre, you’re sure to move edge across your seats. But later in the post-intermission the screenplay drags with lengthy flashback. But again, once the cut backs are done few sequences do excite us during penultimate sequences.

But what’s much disappointing with Arivazhagan is that about replicating ‘Final Destination’, ‘Ring’ and ‘Mirror’ panoramas. They’re projected exactly as the same and the filmmaker could’ve avoided it to prove himself much better than Ram Gopal Varma.

Lots of surprisals from the star-casts: Aadhi has top-notched with his performance with his decent efforts. Well, there aren’t any sequences where he tries to overdo his job. But, he can go ahead try his luck in exceptional roles in mere future. Nanda on an unusual role takes himself to a better task when compared to his previous films. Debutant Sindhu Menon emotes well to the situations. Unlike her previous films, Saranya Mohan doesn’t turn hyperactive and does justice to her role and indeed, she carries the entire second half on her shoulder. Specifically, watch her interacting with Vasu while dining as she exhibits a different behavior. Srinath depicted with grey-shaded character wins applause at few parts.

Technically, the film excels on all panoramas. Hats off to cinematographer Manoj Paramahamsa for an innovative placement of camera angles… He could’ve reduced the over-usage of panoramic shots as they turn hackneyed. Thaman carries on with mind-boggling musical score but all the songs sound similar to each other. It would be better if he works out on showing variations. Editing remains sleek and computer generated graphics as well. Be it the title or those elements you observe during a particular murder at Udhayam Theatre, they’ve been perfectly done. But few shots of over-clouded skies do appear artificial.

If Arivazhagan had avoided threadbare factors like usual horror-stuffs, the film would’ve done really well.

Finally, ‘Eeram’ is merely for the lovers of supernatural thrillers while for general audiences, it’s a film that can be watched once and director Shankar can take a cake walk as his low investments would yield him good profit by next week.

What works: Few thrill moments, dialogues, performance of Sindhu Menon, cinematography, open ending…

What doesn’t work: Overloaded women-centric emotions, lengthy second half, long flashbacks spoil the ‘thrill’ vistas, songs…