A couple of years prior, retail financier Legend Saravanan showed up in the business for his Legend Saravana Stores. The man, who had just experienced behind the stage prominence prior, was presently exposed to relentless savages that especially designated his looks. The statement unquote 'brassy' move had a converse impact of sorts, with the negative exposure just drawing in additional eyeballs. Displaying wonderful certainty, Saravanan chose to make a stride further and deliver and act in his own film, with long-failed to remember chief couple JD-Jerry helming the undertaking.
Maybe it is with this equivalent certainty, that Saravanan plunges onto the screen in The Legend and breaks the fourth wall with a note of appreciation to crowd. The fourth wall is dead for good; there is no reconstructing it, and we start to suspend our conviction readily. We then get a large number of scenes of seemingly plugs for mindfulness developers. At a certain point, a diagram of a lady's body on a writing board is redrawn into that of Mahatma Gandhi to drive forward a point. To exacerbate matter, each time Saravanan is going to address the crowd, the camera tracks down its direction to his front practically like an admonition sign. Add the tasteless set plans, splendid ensembles, extreme make-up — and Saravanan strolling in sluggish movement — it won't be an embellishment to say that the film looks strangely like the numerous Saravana Stores advertisements.
Regardless of whether one figures out how to deliberately ignore all that, the screenplay doesn't move an inch from a standard terrible business potboiler. It is easy to determine the thoughts that could have been settled upon between the chiefs and the maker. A legend needs to battle for a respectable goal; for this situation, it is the mission to track down a remedy for diabetes. Presently, one can't fight the temptation to make him conflict with a clinical mafia. Then, embed irregular shots set in different unfamiliar areas. Likewise, a couple of two part harmony melodies between the courageous woman and the white knight legend. Not causing the hero to experience a horrible misfortune could hurt. At long last, add a couple 'unexpected' turns as trimming.
In the middle between every one of these, we some way or another get a story. Saravanan plays Dr.Saravanan, an incredibly famous researcher. The slogan could really be his last name as far as you might be aware, given the times it goes with his name. Subsequent to getting back to his old neighborhood Pooncholai in Tamil Nadu, he takes it upon him to assist the understudy with classing. He goes gaga for Thalassa (Gee Thika Tiwari), a teacher and gets hitched. After a couple of lamentable occasions in his old neighborhood, Saravanan starts his exploration to fix diabetes which doesn't agree with a worldwide clinical mafia headed by VJ (Suman), whose scenes unusually have Beethoven's Moonlight Sonata playing behind the scenes. In any case, has opportunity and willpower to pose these inquiries?
The film sets aside some margin to arrive at this contention, notwithstanding it never appearing to stop anyplace. In any event, during a serious discourse trade, the camera doesn't wait, even on Saravanan. Try not to be amazed in the event that you connect with the moan of depletion from Mansoor Ali Khan's personality. Fault the poor screenwriting, we scarcely even attempt to scrutinize the close to home diagram of the lead characters or care for their thought processes. In the realm of The Legend, after a lady's home is burnt somewhere near attackers, she cheerfully strolls into the following shot and gets a move on with our legend. On the off chance that a human medication preliminary goes south and Saravanan breaks into a two part harmony the exceptionally next scene, for what reason would it be a good idea for one to address it?
The organizing of the scenes likewise appear to be obsolete, making one keep thinking about whether JD-Jerry neglected to refresh themselves in their 20-year break from standard filmmaking. Crowds have developed and we never again need an unexpected storm of both downpour and drama to feel for a person's demise. Discourse composing is another vexing point; naming a demise by diabetes as 'sweet self destruction' is one more indication of a film waste of time.
Albeit every one of these are inexcusable imperfections that discuss a horrendous film, the experience of watching The Legend on a stuffed screen is a somewhat pleasant one. You read that right. For example, when Saravanan experiences a horrendous misfortune and sobs hysterically, the crowd blasts into giggling. This happens each time the entertainer is constrained into an extreme circumstance that expects him to act out a lot. Maybe the phantoms of his well known savages have followed him to the big screen, and like his past endeavors, this could wind up helping him out given that it is so unusual to watch an unconventional film as such with no consideration on the planet.
Unfortunately, The Legend likewise neglects to reliably be diverting in its long 160-minute runtime. On top, all things considered, this is likewise a film that strangely utilizes Vivek, in any event, causing one to feel remorseful for disdaining the job of the late unbelievable entertainer.
