Movies by Mani Ratnam are a testament to his unwavering commitment to the craft of filmmaking, and in every work of art he produces, you can see both the artist's soul and his own. As a result, there is a certainty that the filmmaker will never completely misjudge how to shape a film. Does Ponniyin Selvan live up to his moniker despite what we have seen of his attention to detail and the results it produces?
Together with Jayamohan and Kumaravel, Mani Ratnam is responsible for adapting Kalki's book for the big screen. The unconventional filmmaker starts off with all the incredible components to make the ideal movie. Aishwarya Rai comes back to his vision after working with him for 25 years, AR Rahman is writing music (their partnership turns 30 this year), Ravi Varman is capturing the world, and some of the biggest stars in Tamil cinema are all involved. Consequently, you are aware of its size right away.
Mani Ratnam's main argument is that, while the House Chola's basis was gradually becoming weaker due to internal politics and external pressures, the women were truly in charge of the charade. They refer to Nandini as the poison, yet when Ratnam tries to probe into her soul, the poison protects her. She is surrounded by a particular kind of spirituality, and each appearance has profound effects.
Aishwarya Rai Bachchan is thought of as a gorgeous mirage that is unreal. Many people think that about her even in her real life. So you can tell that magic is about to happen when Mani Ratnam positions her in front of his camera. Even if she is able to captivate us with her charisma, everything around her is unappealing.
The most time in front of the camera goes to Karthi. The actor has a natural skill and is aware of his expectations. His duty is to show bravery when necessary and comedy when there is none, and he does a pretty good job of it. He has a flirty quality that adds a very thin coating to him.
Vikram is fully in character with his reckless style, although the script makes some odd choices in his vicinity. In addition to giving him little screen time, it also forces him to indulge in flashbacks by making him explain them endlessly.
Trisha Krishnan and Sobhita Dhulipala provide charm and chirp to the narrative, but they need to have been given more to let the narrative take a positive turn. Everything appears to be lacking at this stage, but not in a way that will make you eagerly await what comes next; rather, you will be resentful of the first for creating unwarranted expectations.
