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Unnai Pol Oruvan
Banner: Raj Kamal Productions, UTV Motion Pictures
Production: Kamal Haasan, Ronnie Screwvala
Direction: Chakri
Star-casts: Kamal Haasan, Mohan Lal, Lakshmi, Tanuja Iyer, Ganesh Venkataram
Music: Shruthi Haasan
The film opens with Chennai city commissioner Maarar (Mohan Lal) receiving a call from stranger (Kamal Haasan) who claims that he has placed bombs over various places in the city. Presuming this to be a crank call, commissioner doesn’t strain himself a lot onto this issue. But once, the stranger blows off their senses stating a bomb is ready to go exploded within few minutes at a police station in Anna Saalai, situations become much crucial.
Now, he has a deal on insisting the police department about releasing 4 deadliest criminals involved in serial bomb blasts across the nation.
Finally, with no options left, the department has to go along the stranger’s way of releasing the criminals. But that’s not an end as you would witnesses a surprising climax gradually making your heart skip a beat.
Getting on with performance, Kamal Haasan has perfectly enacted the role with right emotions delivered in the needy situations. Possibly, it’s better to ennoble Mohan Lal as the ‘man of hour’ as he’s overpoweringly great on his show. Be it a humorous take on dialogues or the final lines of conversation with Kamal Haasan, he just makes it look proficient. Ganesh Venkataram get-goes with an excellent show and he look ahead for best offers now while Tanuja Iyer does justice to her role.
Technically, cinematography by Manoj requires special mention for his skilled handling of digital camera. Shruthi Haasan hasn’t got much to showcase on the musical part and she needs to work a lot to top the charts.
Dialogues don’t sound to be hackneyed as expected as in most of the socio-based films we would’ve seen protagonists uttering the same lines. The lines are so striking in parts. Every conversation amongst each characterization is worth appreciating about.
As in marking the final verdict for filmmaker Chakri, he does insert some interesting elements that weren’t present in the original version.
Totting up, ‘Unnai Pol Oruvan’ happens to be a decent remake as Kamal Haasan makes it look finely embellished the than ‘A Wednesday’.
What works: Performance of Kamal Haasan, Mohan Lal and every actor, cinematography, dialogues, short duration…
What doesn’t work: Background score, too many English dialogues that maybe a difficulty amongst C centres.
A.R. Rahman, the versatile music director, sets the record for being the most expensive music director. He had been paid a whooping 10 crores, for Shankar's new directorial venture Robot starring Rajnikanth and Aiswarya Rai Bachchan in leading roles. His previous project was also with Rahman - Sivaji - The boss which also topped the charts. The duo had always been together except for the movie Anniyan. Rahman is learnt to be straining his every nerve to ensure that the music would be something to remember and cherish. Now, it is time for another superhit from the infallible duo.
Shankar had set India to the foot-tapping numbers of Rahman, with 'Gentleman' (1992). Who can forget the impact that "chik puk chik puk raile" and "Ottakathe kettikko" had on the Indian music lover? The stunner-of-a-music-score had instantly raised Rahman to iconic status. In no time, the humble wizard from Chennai became the toast of the Indian music world.
All the films, which Shankar later directed, except for 'Annyan', had Rahman's lilting numbers as their hallmark.
'Kathalan', 'Jeans', 'Muthalvan', 'Nayak' (Hindi), 'Boys'- all these Shankar-ARR albums went on to become chartbusters. It was rumoured that after 'Boys' the duo fell out on some "silly misunderstanding".
Anyway, bereft of each other's company, each of them went about their jobs and reaped success.
Shivaji Rao Gaekwad (born on December 12, 1950),[1] professionally known by his stage name Rajinikanth (Tamil: ரஜினிகாந்த்; Kannada: ರಜನೀಕಾಂತ್; Marathi: रजनीकांत), is an Indian film actor. He received India's third highest honour, the Padma Bhushan, for his contribution to Indian cinema.[2] He is best known for his mass popularity and appeal, largely drawn from his mannerisms and stylized delivery of dialogue in films. Other than acting, Rajinikanth worked as a screenwriter, film producer, and also a playback singer. Apart from his film career, he is a philanthropist and also serves as an influence in the politics of Tamil Nadu.
Rajinikanth debuted as an actor in 1975 under the direction of K. Balachander in supporting roles. He was later favoured in portraying antagonistic characters and gradually rose to acting in lead roles. He also appeared in the cinemas of other nations, including American cinema. He was paid Rs. 26 crores for Sivaji: The Boss, making him the highest paid actor in Asia after Jackie Chan.[3][4]
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