In one of his pre-release interviews, director Lokesh Kanagaraj used a parable to describe the mood of Vikram -- a story of a lion who was captured by circus people. In his absence, the other animals of the forest have taken over. His captors release the lion back into the wild, after using his prime years in the circus. The lion is now subdued, more hungry for applause than the hunt. The other animals try to use this opportunity to attack the lion. But the lion shows that he had stayed away by choice, not inability. He was, is, and will be the king of the jungle
This story definitely sets the mood for Agent Vikram, but in a way can be used for Kamal Haasan as well. Vikram is the veteran actor’s first theatrical release in four long years. He has been absent in the feeding frenzy of box office collections. Several people had written him off. But all you need is one glimpse of the man to know why he is the king. (or should we say GOAT). In Vikram, Kamal Haasan is all swag. It’s not a role that demands a lot from the actor. But it is still a delight to see him in this all-guns-blazing (quite literally) action avatar.
Vikram is a multi-starrer in the truest sense of the word. Multiple narratives and ensemble casts have been a part of Lokesh Kanagaraj’s films. Kamal Haasan is no stranger to this space as well. The actor has a long line of ensemble films where he has been happy to make room for his fellow actors -- whether it’s an intense drama like Virumandi or a comedy like Panchathanthiram. He does it again in Vikram. And this time it’s Fahadh Faasil sharing the glory. Both Fahadh Faasil and Vijay Sethupathi share the narrative and dramatic load. VJS is in his comfort zone with eccentricity but the stilted delivery, however, doesn’t hit the right note all the time. The film uses all its actors well, giving them all memorable moments.
Then, there are the meta moments. Vikram (Kamal Haasan) hands over his grandson to Amar (Fahadh), almost like handing over the mantle to carry the legacy forward. (In an earlier interview, Kamal had said that Fahadh was one of his favourite actors from the current generations.) The film’s emotional core struggles to breathe under the weight of building a franchise. But the surprises keep the curiosity alive. And thankfully, for once, we have female characters who are of actual relevance and significance to the story.
Vikram is not without flaws. There are loopholes and logical discrepancies -- some more glaring than the others. But cinema is all about how a film creates a suspension of disbelief and sustains it. It is pacy -- there’s a lovely rhythm in the shots and cuts. The camera dances around its characters so fluidly. (Cinematography by Girish Gangadharan and edited by Philomin Raj) This pace dips a bit in the second half, but Anirudh’s ridiculously electric score fills in to hold the fort.
Vikram’s climax sets the stage for a sequel -- which would be another casting coup for Lokesh if the film happens. It hints at one of Tamil cinema’s most exciting actor face-offs. Vikram’s charm lies in such novelties -- both minor and major. Tamil cinema has not had great luck with franchises, but here is to hoping that we see Agent Vikram back in action soon.
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