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"Indru"



"Indru" ... . where caricatures are many.

CONFUSION REIGNS supreme in the second half of Kashyap Productions' "Indru." Initially Naveen Muthuraman (the story, screenplay, dialogue and direction are his) gives the impression that patriotic fervour will dominate the proceedings. But soon it turns out to be just another story of bad and good men, their guessable ploys and boring clichés. Most of the time `Indru''s villains, for that matter the hero too, are tiring caricatures.

Major Gautam (Karthik) is an ideal army man. With three subordinates — Richard (Sriman), Vichu (Karunas) and Pandian (Kumaresan) — to help him out, Gautam is sent on a mission to Goa. But during the journey Richard is murdered. The rest of the story is the unravelling of the mystery, in the course of which the villains are exposed. The opening scene has been conceived well and arouses your expectations about the film. But soon things fall flat.

Karthik's sincere attempts to elevate the film prove utterly futile that you end up feeling sorry for him. Why does not the experienced actor choose his roles with care? And he has to do something about the wig. Romance between Gautam and Jennifer (Tanu Rai) is at such a shallow level till the very end, that when she actually expects him to get her a birthday gift, you are puzzled! The couple of customary duets hardly make a difference. Tanu Rai, the debutant, resembles actress Ranjitha, a rounded version, you could say, and is mostly the case, plays a role that hardly matters. It is shocking to see `Pyramid' Natarajan in the role of a lecherous politician and because it is unconvincing it is all the more gross. The second heroine, Maina, looks more a model than an Army Commander and doesn't believe in mundane matters such as expressions and acting! And why did Fatima Babu need a dubbing voice?

Karthik's elegant dance movements, the melody of the song and the appealing choreography make the "Ponmaalai Naeram" sequence enjoyable. Another hum-worthy number among Deva's compositions is the duet, "Karthigai Aanavalae". Yugabharathi's lyrics add to the impact.

The hero duping the villains in the guise of a Sardarji or a sanyasi are charades that are too obsolete for words. Watching such scenes in "Indru" transports you to a bygone era. If Richard had erroneously added Colonel Somnath's name in the list of traitors, is it not necessary to explain why he had concluded so?

Even if you set aside the gaffe, incidents such as the happenings in the police inspector's (Vasu Vikram) house are too tripe to say the least. So much so, positive aspects like U. K. Senthilkumar's cinematography fail to grip you. Juvenile treatment is a major drawback of "Indru".

MALATHI RANGARAJAN

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