Yeidhavan

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Yeidhavan Movie Review | Kalaiyarasan | Satna Titus | Movie Review of Yeidhavan | Rocheston TV
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Movie Info

  • Director: Sakthi Rajasekaran
  • Actors: Kalaiyarasan, Satna Titus
  • Music: Paartav Barggo
  • Cinematography: C. Prem Kumar
  • Edited by: I. J. Alen
  • Produced by: S. Sudhakaran

Movie Reviews

Yeidhavan: A Potentially Enthralling Thriller Succumbs to Formulaic Execution

Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)

Debut director Sakthi Rajasekaran’s Yeidhavan has its scintillating moments but that eminent spark is put off when a pristine territory is merged with a fading and age-old commercial formula. What happens when you try to obtain the best of both worlds? You end up with a film that has an appreciable first half and uninteresting second half. If only the director stuck by his initial route.

Krishna (Kalaiarasan), your average middle class man runs a startup that sells currency counting machines. Just when life goes well, Krishna’s sister becomes a victim to a cutthroat medical scam. When the happiness of his household is disrupted, Krishna, as a doting brother sets out on a revenge mission to destroy his wrong-doers once and for all.

It’s always saddening to witness a potentially enthralling film take a formulaic route. In the first half, director Rajasekaran’s Yeidhavan embeds a message in your heart. But that message on corruption gradually fades away due to the absence of a call for greater action in the second half.

As Krishna, Kalaiarasan is just adequate. He needs to work on building a varied and substantial palette of expressions if he wants’ to achieve brilliance. His amateurity is especially noticeable in action sequences and scenes that call for greater intensity. Instead of showcasing an arresting fight against corruption, the film loses its way when it picks up an excessive urge to incorporate a preach-heavy undertone.

In parts, Yeidhavan reminds you of Director Shankar’s corruption fighting heroes. Clearly, director Sakthi Rajasekaran lacks the raciness that Shankar’s scripts bring to the plate. Incorporating realism in the film is definitely a good move but pacing the narrative better could’ve created a larger scope for tension.

Most of Krishna’s revenge sequences are entertaining. It packs in many twists and turns that genuinely surprises the audience. If rest of the story was packed tight with cleverly thought-out thrills, it could’ve worked up the tension it intended to create.

Yeidhavan sketches many supporting characters that trigger your interest. Though their screen presences are extremely short lived, they leave a lasting impression on you. You can’t help but wish you’d seen more of the intriguing cop, Janani (Satna Titus). Even villains in the film are fascinatingly crafted with shades of white that uncontrollably seep through in times of dire need. It’s the little nuances of these fleeting characters that make your experience feel real and affecting. If the director had shed a sizable light on these aspects, the film would’ve risen to a greater scale.

Cinematographer C. Prem Kumar’s imagery enhances the slow-moving narrative. There are many innovative shots in the film that account for its professional and distinguishable presentation. Paartav Barggo’s music on the other hand is screeching and flashy. It takes away from the mood the narrative intends to create.

Overall, Yeidhavan is one more film that succumbs to formulaic execution. The narrative’s underlying potential is left incomplete leaving you disappointed with its slow moving pace. Employing a racy and uncompromising screenplay could’ve done justice to the story.

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