Even Rajinikanth can’t save the bad script of Annaaatthe. A gushing sibling pursues the bad person who has made his offended sister’s life hopeless.
Cast: Rajinikanth, Meena, Khushbu, Nayanthara and Keerthy Suresh.
Director of the film: Siva
During the scene which sets up the interlude in Annaatthe, we see a lady in a difficult situation leaving a club in which individuals who have been upsetting her are lying not so good, because of a mystery person. As she leaves, we see this guardian angel remaining on a structure projecting a huge shadow that appears to oblige her, similar to some kind of defensive safeguard. It’s an incredible visual theme that impeccably typifies the plot of Annaatthe — a sibling shielding his sister from each damage that comes to her direction. However, it additionally adds one more layer of significance to the film. A Rajini film nowadays works better when his essence is meant as a shadow or an outline than when the camera decides to zero in on the man himself, who has progressively started to look more like a shadow of the Superstar that we are aware of.
Annatthe- Rajnikanth's movie
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Indeed, even at 70, he does all that we hope to see him do on screen, including sending twelve men flying. In any case, there’s one scoundrel whom even Rajinikanth can’t vanquish — awful composition! Furthermore, in Annaatthe, this scalawag is simply excessively solid. The story spins around panchayat president Kaalaiyan (Rajinikanth), affectionately tended to as Annaatthe by everybody around him, and his sister Thanga Meenatchi (Keerthy Suresh, who is by all accounts trying out for the miserable face smiley in an emoticon film). They spoil each other like there’s no tomorrow. How would we realize that? We are told so. In an early scene, we see Kaalayian bringing home Meenatchi, who has recently returned in the wake of finishing her examinations in Kolkata, in a vehicle. An elderly person specifies how pitiful the sibling was without his sister, and Meenatchi quickly gets all nostalgic, and we get a flashback about a mother biting the dust during labor and a sibling taking on the mother’s obligations and taking care of his sister. Indeed, composing is simply conventional.
Then, at that point, Kaalaiyan chooses to organize a counterpart for his sister. Why? Since two or three elderly people ladies ask him when he will get her married! However at that point, he needs his sister to be inside a 5km range, so he can go to her assistance at whatever point she calls him. Also, when a proposal comes to them (the groom is a doctor), Kaalaiyan consents to it. Why? Regardless of whether his sister weds a multi-mogul, she will in any case need to go to a doctor, so why not get a doctor as the man of the hour? No, this isn’t referenced in a lively way, as in the scenes going before it, when grooms deny the man because of his violent ways, but in a very straight-faced manner. Frankly, this moment is comedy gold compared to those supposedly funny scenes.
In the interim, destiny mediates and the sibling and sister are irritated. He finds her in Kolkata, where he observes her in hot water. With Meenatchi not having any desire to allow her sibling to see her in such a state, Kaalaiyan chooses to pursue the one who has made his sister’s life hopeless.
If Petta felt like a pastiche of Rajinikanth’s movies, Annaatthe appears as though a montage made out of the more vulnerable minutes from director Siva’s filmography. We have the scoundrels from Siruthai, the ‘savior who cannot reveal his identity’ point from Veeram, the sibling sister feeling from Vedalam, and the country background from Viswasam. The outcome is a film whose passionate beats feel outrightly determined and manipulative. Considering that the kin bond is it’s core we expect scenes that show us why and how Kaalaiyan and Meenatchi are close. All things considered, as in the new Udanpirappe, the characters just continue to discuss the relationship! With this leading to an unaffecting tale, D Imman’s use of a sentimental score hardly adds an emotional punch to the action scenes, which are shot in a generic manner.
It likewise doesn’t help that the reprobates are additionally pitifully composed. For a large part of the time, Abhimanyu’s Manoj Palekar is developed as the lowlife, however, at that point, everything he does is watch his thugs get whipped and run for his life. Then, at that point, we get another, apparently much more heartless reprobate, as his relative Uddhav Palekar (Jagapathi Babu, who has turned into the go-to entertainer for lethargically composed enemies). What’s more, he winds up being even to a lesser degree a danger! We just completion feeling pitiful that Mark Antony and Neelambari, reprobates in Rajinikanth films have come down to this level!