At some point in The legend, which is essentially about a world-renowned scientist discovering a cure for diabetes, a newspaper headline reads, “Yes, Cure Diabetes Possible.” Now, that could just be brushed off as sheer ignorance, but in a movie that revels in its own absurdity, that leaves us with a big question – is Team The Legend aware of the kind of responses the movie will elicit? If the jury is still divided on this point, this blunder is among the many humorous sequences of The legendwhich is both a rehash of several blockbuster movie plotlines and a one-of-a-kind project.
Actors: Legend Saravanan, Prabhu, Urvashi Rautela, Suman, Vivek
Director: JD Jerry
The first time we see Saravanan on screen, he sends goons flying through the air, even as his well-gelled hair remains untouched and he’s dressed straight out of a Khader Nawaz Khan fashion week. Road. While not much can be said about his perennial poker face, his costumes are exemplary. This concern for Saravanan’s looks, style and wardrobe is the directors’ main focus in the film, which otherwise exists only to fill in the gaps between the elaborate action sets and song sequences. colored. To give credit where it’s due, the creators get the basic plot right. The “medical mafia” are afraid that the discovery of Saravanan will put them out of business, and they are using all their might to put a stop to it. Between all the paraphernalia, including squeaky intentional comedy and unintended hilarious, The legend offers us a 160-minute ride like no other.
It’s not a travesty or parody, and the seriousness of the established names in the film, especially Prabhu, Latha, Thambi Ramaiah, Vijayakumar, Yogi Babu, Robo Shankar, Devadarshini and Suman gives a layer of seriousness and gravity well necessary. at The legend. The same goes for the film’s brilliant technical team. Harris Jayaraj is the soul of the film, and its electrifying background music reminds us how much music plays a huge role in our acceptance of any scene. All points to cinematographer Velraj for the adornment we see unfolding on screen. In some projects, it is important for the audience to understand that money has not been a limiting factor; The legend is one of those movies.
The Rajinikanth template is a proven template for any new actor trying to become a superstar, and Saravanan is no different. The love for Rajinikanth is such that the main plot points, song sequences and action scenes of The legend more like watching a watered down version of the Superstar highlights reel. While the Sivaji hangovers are the most common, we also get mild doses of Ejamaan and Muthu. But don’t get me wrong, there’s only one star in The legendand this is Saravanan.
The legend exists for the sole reason that Saravanan is living his dream and being the star of a mass masala artist. He is a brilliant assembler and puts together the best team possible to make this dream come true. His role in The legend is actually a relic of the past. Although there are scenes where Saravanan sounds a call to feminism, it’s intercut with an overwhelming inanity and sugary goodness that one of my eyes has rolled out of the back of my head so much and seems to be lost. Who calls diabetes “sweet suicide?” Also, if you’re a power person at a university, what would you do with a bunch of student hooligans who sexually harass a woman, burn down her house, run over her father, and constantly say an ‘Ooh laa’ song to every opportune moment of depravity? Rusticize them? Complain to the police? At the very least, suspend them? But our Saravanan, who randomly appears with a whip (why is he carrying one in the first place), and pulls off an Ungal Veettu Pillai MGR, lets them go scot-free because… and wait…”thirundharathukku oru vaaipu”. Go on!!! These are not kids caught trying to copy an exam. In fact, every dialogue Saravanan utters is either hard-hitting or moralizing. Even in the romantic parts involving two heroines – Urvashi Rautela and Geethika Mantri who make confident debuts with their mostly on-point lip-syncing acting – the dialogue is so outdated and cliche. In fact, there’s hardly a scene where he’s just having a conversation with someone. His lines are still directed at the gallery, who may not quite buy into the concept of Saravanan as a messiah, but wouldn’t really mind seeing him as an aspirant whose earnestness is contagious. Plus, he gives off the vibe of being a pretty nice guy. In fact, in The legend, there’s a nice touch in the way they used synchronized sound to bring the role of the legendary Vivekh, who died before the film could be finished, to life. Although his comedic scenes didn’t really pack a punch, it was nice to see him on screen one last time.
The legend rode on a concept that expects audiences to root for the protagonist. However, there is a sense of grounding here, not for the character but for textile giant Saravanan himself. It’s obvious that he didn’t do all the stunts, especially some of the jumps, because the VFX is as clear as the green screen used. But still, we applaud. The lack of histrionic ability is simply overwhelming. But still, we whistle. The audacity of the plot is laughable. But still, we laugh. Song and dance routines are out of place in The Legend. But still, we dance. We have already done this for countless star vehicles. We let our best senses be pushed aside to allow our lowest feelings to come to the fore and enjoy a movie. For the uninitiated, the movie might just be a big joke, but honestly, Saravanan and his team clearly know what they wanted to do with it. The legend. They’re all in on the joke, and so are we.
