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By:
Ramanathan Vontivillu
The success of the 'Gajini' story lies in creating sympathy towards Asin's death, which the director has handled very well. Heroine Asin is being killed in front of her beloved Surya, just because she did some good for the society. At the same time, Surya also is being thrashed heavily before her dying eyes. The mental agony of the dying person will naturally evoke sympathy among audiences. Asin’s expression in that scene is very natural. (Normally this kind of scene is picturised in Tamil movies with much screaming and body resistance). The character of Asin in the film is positive and energetic. She’s an enthusiastic young damsel, who is kind and loving towards children and the disabled. She
is killed arrogantly just when she is on the verge of discovering the true identity of her would be (which, of course, the audience knows but she does not), so the impact of sympathy is doubled on screen. That is the reason why the screenplay of half of the movie is focused on shaping the heroine’s character, leading towards her killing. This provides the justification for the revenge taken by Surya, taking the audiences along the story line of the movie.
As is usual in Tamil movies, there are some flaws in ‘Gajini’ too.
*Surya has the photographs of all criminals and the major villain who killed Asin. When did he take those photographs?
* How did the lady constable know the details of the confrontation of Asin and Surya with the villain’s gang (leading to Asin’s death) and narrate it to Nayantara? She only knows that the villain has planned to kill Asin and informs that to her. This is the very common mistake seen in every Tamil movie.
* Surya shows no particular intelligence in locating the criminals to take revenge. The story does not explain how he knows their program when he goes to different places to kill them.
* No one locks the door of their residences in this movie. The criminals go and hide in Asin house when she is not there. Surya’s flat is open when Nayantara visits there (she then saves the life of police officer held captive by Surya). Surya enters the main villain’s house casually etc...
* The murder is committed in a flat. But it is shown as if done in an isolated place. After Asin’s death, Surya becomes unconscious in the same place.... and...... then...? No investigations, no police enquiries, no post mortems.
* Surya goes to a ladies hostel once to kill Nayantara. Nayantara also knows that he has come only to kill her and calls the police. The police force captures him and Surya shows a kind of arrogance in front of police also. Neither the police, the doctor nor hostel warden, analyse the reason for his attempt to murder Nayantara.
* In the initial scene, the police officer who tries to arrest him meets with an accident and dies on the spot when Surya chases him and Nayantara. Subsequently, he tries to kill her in the shopping complex. But she takes everything very casually and does not inform anyone about it. Though she is trying to help out Surya without the permission of her superior, she can’t take risk with her own life.
* In the climax, the villain gives 1 hour time to Nayantara to find Surya. Actually, she was caught while talking to Surya on her mobile. So, all she has to do is once again call Surya on the same mobile. If she has misplaced the mobile in the factory, it would be lying there only.
Despite all these flaws in the narration, the movie is interesting to watch because of its presentation style, different story line and good performance by both Surya and Asin.
By-V.K.L. Raamanathan
Ramanathan Vontivillu is a young man, who loves cinema as a combination of art, science, creativity, psychology, teamwork and entertainment. Reviewing good films is his hobby and he likes to share his interests with others. “I would like to be the gentleness of breeze, soft rain of a summer afternoon and the ray of sunshine on a dark day.”
e-mail: vklrindia@yahoo.com
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-23.11.2005
