Uttama Villain - Bittersweet but Slapstick..... Blemished but Exquisite.....!!!!

Whenever it is Kamal Hassan at the helm of affairs one can be sure of a display of histrionics that would make one reconsider the definition of acting. Yet, his career as a screenwriter has been quite chequered in the last decade and a half. Moving on from the generally simplistic plots that he used to pen ineffably, he chose subjects that were quite complex in narrative structure and content that had the affinity to become cult classics many years after they hit the screen (Aalavandhan and Hey Ram for instance). Yet, the
singularly common point that all of his scripts share is the striking tender core and his emphasis on drama. Even in Vishwaroopam (essentially a spy thriller), he managed to seamlessly blend a very dramatic flashback sequence that forms the catalyst for the movie's ongoing narrative. Yet another one to be seen is his everlasting tryst with his first love, dance. The trailer of Uttama Villain made me run on all these trains of thought in sequence. Here was a trailer so abstract in it's content and so obscure in what it showed that I felt impressed and bewildered in equal measure. Yet, I was apprehensive too for his tryst with complexity seemed to be touching the pinnacle here.

But when the movie began, I began to realise that this one was going to be more closer to the dramatic parts of Avvai Shanmugi and Anbe Shivam. In typical Kamal style, the movie had many subtle philosophical references and quirky wordplay for starters. Yet the plot(s) are very simplistic in nature (phew!!). The plurality in plot is one feature that is well known in Tamil cinema as a series of flashback sequences. But who ever heard of a parallel plot between folklore and real time? There is one track of an ageing superstar who struggles with a dysfunctional life and another one that depicts a folk tale set "long long ago so long ago" (chuckle). And then there is also the dialogue that is set in two different eras which Kamal Hassan nails with his characteristic command over the Tamil language. Essentially the story lives up to the genre that it belongs to, the dramedy. But like the pioneer he is, the writer has attempted a mish-mash of slapstick humour with tender drama. The result of this is definitely not a seamless whole but then I guess it wasn't meant to be either. The two tracks are absolutely divorced from each other except for a common point that, if revealed, would be a blaring spoiler. The writing bears the stamp of Kamal from start to

end. We have characters that possess essentially grey shades. And after 3/4th of the movie one begins to understand the significance of the title (quite apart from the explanation given in the movie itself). I could then realise that the genius that Kamal Hassan is, has equally won as has the actor that he is. The title of the movie is apt for the metamorphosis of personality, behaviour and perception that is the core of the story. And that is greatly helped by the fact that the actors are so well cast and that the technical department and music are top notch. Ghibran provides some great tunes and background pieces. However, the impact of the music is slightly dented by the fact that the musical sequences seem to be more of a showcase of the master of art that Kamal is than to serve as a device to move the plot forward. But that apart, the musical sequences are well staged and choreographed (special mention to the villupaatu-theyyam dances) and the lyrics (written by Kamal himself) are testimony to the sublime poet that he is. The costumes and Makeup too are quite striking.

As far as the cast is concerned, there is absolutely no scope for complaint. Kamal Hassan gives his usual, the very best of acting. There is a certain scene involving him and Jayaram that will leave you awestruck as to how can an actor be so perfect as that. His own dialogues are written by him aptly for himself and offer him ample scope to showcase his unmatched skills (language included). And then we have M S Bhaskar who is as natural as ever in both his comic and emotional facets of performance. Pooja Kumar, whose track essentially lies in the folklore part of the movie is quite good. She brings in the necessary sensuality into her role with ease but has ensured that her performance is adequate enough for the stature of the actor she is opposite with (yet her pixie cut doesn't exactly match the setting of her role). However, Nasser is the one that gets all credit for being the life of the folklore sequence. His scenes with Kamal and humour in "thooya tamizh" bring the house down. And then there is Kamal's set of constant colleagues Andeah, Urvasi and Jayaram who do their part quite naturally. And then there is Parvathy Menon who has a short role, but does a good job. K Balachander in the last time that we shall ever see alive and walking and his contemporary K.Vishwanath are fit in roles that seem tailor made for them. The track involving Balachander and Kamal evokes nostalgia.

Uttama Villain is not a perfect film and has its blemishes. Yet, these blemishes turn out to be its most beautiful adornments. With a solid cast showing its works and a typically hair raising central performance, the complaint of the necessarily disjointed script does not hold much weight. The simple and very relatable tale that the movie has to offer is a treat to watch. The tender core of the movie is well exploited by Kamal and Ramesh Aravind and there are many scenes that will leave a lump in your throat for sure. Please do watch this movie as it is the most unabashed piece of work that Kamal has offered since Anbe Sivam. It is bittersweet yet slapstick. It is blemished but is exquisite.