The man with magnetism in his name and eyes does it and how? If you thought that the Sivaji canvas was huge for a Rajni film, Enthiran multiplies it by 100 and delivers staggering results. Like Cameron baby-sat his pet project Avatar, Shankar did the same with this project. It changed hands from Kamal Hassan to Ajit (seriously?) to SRK and finally to Mr. Magnet. If SRK thought this was a half-baked script, you are tempted to ask him if he dozed off during the narration of Rab Ne bana di jodi or My Name is Khan.
So lets start with the story. Oh Cmon! Who am I kidding? Do you really give a rats ass about a story in a Rajni film? But for freshness sake, this film does have a solid reason and delivers well (Thanks to Late great Sujatha). As a norm in Shankar's film, the hero is shown normally without any intro song or fanfare. (But there are some useless souls in Kolywood who would not abolish it even after Siva kicked it left right and center in Tamil Padam.)
The special effects are wonderfully done and it shows where Mr. Maaran's money went. We know that Sun Network has this dubious standard of praising its own movies on their channels. I mean, come on, Thillalangadi at No 1 for so long? The film is possibly "running succesfully" in your nearby VCD shop. But you have to say that their promotional antics for Enthiran has paid wonderful results. When Ms Rai kissed Mr Rajni on screen, one guy from the back shouted "Rajni Khabardaar!!" and the whole theatre erupted in laughter.
Even though the initial robot design reminded me of IRobot, the rest of the film and its reasoning reminds you that it has an Indian heart and mind. Some of the dialgoues in the film remind you of typical Sujatha touches and evoked claps from the audience. For a reasonably good actor, Danny Denzongpa was wasted. He makes his exit like some useless extra, but then with Robot2.0 around, you don't care.
Ms. Ash looks gorgeous for sure. But why did I get the feeling that towards the climax she looked more like an accomplice-in-two-minds rather than the typical damsel-in-distress? To be fair to Mr ARR, the songs looked good on screen but you don't remember them much later. Of course, Shankar's imagination and Ratnavelu's camera do the rest of the trick. Resul Pookutty's work is evident when you can hear the minute motor sounds when the Robot moves its parts.
If you have about 200 crores to splash on a movie, Mr Shankar is your go-to man. It is evident why he is the highest paid director in the country. The man has an amazing imagination and he just raises the bar for himself, but leaps it way above and beyond making you wonder "what will he do next?". Rightfully, he should be christened as the "James Cameron of India". By now if you have not heard about Enthiran's "Baap of all climaxes", its possible that you might have been away on a vacation to Afghanistan. It is evident that he has made suitable changes to suit Rajni's image, but it is also praiseworthy that he has preserved the spirit of the movie intact.
And now to the man himself. Rajni. Most of us might be fortunate enough to be fit to touch our own ass at 61 for morning duties. This man kicks ass at 61. Not only does he jump, dance, fight and multiply with elan, but he also lives the coveted dream of shooting with his index finger. All the Little, Vente,Grande Super stars, Young and Old captains, Ultimate and Penultimate stars can hang their dreams of occupying his coveted throne to rest. You should not be surprised if someday Meena's daughter plays his heroine. Sometimes you wonder if he is really the original "Curious case of Benjamin Button" guy.
Anyone who has seen Rajni's older movies will agree that Rajni the antagonist could steal the thunder from any hero worth his salt in his heyday. No wonder Shankar chose to give lot of screen time to the "badass" Robot 2.0 and boy, the theatre went beserk. Any other actor might have made it over-the-top, but Rajni owns it so well, that you wish you could see more of him on screen. Not only does he shine as the innocent and badass robot, but also overtakes the usually-reliable Santhanam in comedy scenes.