(Spoilers ahead)
In this season, where it's pouring Dhanush, national award winning cinematographor-turned director K.V. Anand has, through Anegan, gone for high action, high romance, a high budget and an overall high that leaves you quite unsure of where to put your emotions.
Yes, we have Dhanush; that's a good sign. We have him running in and out of multiple lives, peddling furiously on his karmic cycles, phasing in and out the people who keep featuring in all his lives, all of this holding the hand of his beloved, who he keeps getting reunited within every single life, only to be killed every time so they can reunite in their next life... phew!
Now get a handle on it, this movie doesn't think you should be allowed any time to think anything through; it makes sure that while Dhanush (he has at least four regular names, including a Burmese one that has a fixation with nasal sounds) is hopping and jumping through his many lives, you just sit back catching your breath at the extravagant action sequences, and the detailed, yet over the top constitution of the story.
The story begins in 1962 Burma. The story has included what is a bite from the historical Sino-Indian war. A chaotic Burma that is being evacuated of Indians and Tamilians in large numbers, is the setting of love story 1 of Life 1. Love story 4, which happens in the present life, subsequently follows and keeps popping in and out of the non-linear narrative. Love story 2 of some life is a bit vague, but 4 sure steals the thunder, for it has the resurgence of the villainy we suddenly missed half way through love story 4. Plus we have Dhanush as 'Kali', the local thug who has gargled his syllables thorough, perfecting the Chennai slang.
The headache of 1, 2, 3 and 4 aside, the lead pair keep the narrative afloat. Although I fail to understand why karma doesn't introduce anybody new to them in any of their lives. They keep bumping into the same people, over and over again, with a few exceptions. And then again, there is a twist, however predictable, that questions the reincarnation bit. A pretty Amyra Dastur (who again is known by multiple names) holds her own, and shares equal screen space with Dhanush. Although her characters aren't as diverse as those of Dhanush, she slips into her roles easily, and her quirks, although inexcusable in real lives, are amusing.
The comeback of actor Karthik through Anegan has been made quite eventful. Karthik comes in with the familiar drawl that had Tamil cinema hooked in the eighties, and after some waiting period unleashes some gratuitous violence. Ashish Vidyarthi's role might have been good had it lasted longer, and Aishwarya Devan's character was not recuperating from her death, unlike the others'! Jegan, Lena; measured support to the script.
Harris Jayaraj's scores and BGM are impressive, though they're quite reminiscent of some of his previous ones. Danga Maari song as the featured dappakuthu is entertaining. Om Prakash's cinematography, replete with colours is impressive. It's interesting to note how the director has tried to justify the contemporariness of the places with little props, like in Burma, there are students in a school with Aung San Suu Kyi written on their notebook, but in the year 1962, she was only attending college, and hasn't grappled with fame yet.
Anegan's sure bet is Dhanush and his many characters. And it seems like he's poised to score on the favourable pitch, even if they are textbook shots.
Moment of glory: Dhanush's impeccable impersonation of Karthik, wielding the latter's quirky accent, taking it through to the point of hilarity.
Rating: 2.5/5