December 05, 2013 Srivathsan Nadadhur
If one clearly analyses Vishnuvardhan's body of work, it is imperative of one to confess the presence of style overpowering substance. For some the idea has worked, for some it hasn't. Aata Arambham, unfortunately belongs to the latter category where it seems a clear case of much ado about nothing.
The lavishness of the platform set up much to the credit of the larger than life persona of actor Ajith Kumar is an additional layer or indeed an extravagant attempt to make the hollowness in the story presentable. The jaw-dropping background scores and action sequences try to uplift the intensity that isn't even adequately justified. Though justification is not something that we can afford to expect out of a film that celebrates the existence of its male lead, giving the done-to-death flashback sequences to lend meaning to the action, post the intermission clearly conveys the laziness of the film's writers.
In spite of the hero adoring sequences, Aata Arambam doesn't slip to be just another masala work on the block. Except for Taapsee's wierd behaviour which often comes in the guise of lending light heartedness to the proceedings, each of the characters are sure of their purpose. The cinematography allures and the composure of Ajith too impresses frequently, thanks to the gripping screenplay that many a time brings the sequences to a watchable level.
The faulty bullet-proof jackets episodes in relation to the Mumbai blasts strike an impact initially, but the treatment meted out later, where no attention is paid to details or possible research is a complete off. Even with the bank robbery or the parts where Arjun (Arya) shows his expertise in hacking data, the scenes roll on as if they are just a piece of cake with the resemblances to Hollywood flicks or the recent Don 2 being glaringly visible.
Meanwhile, there are no real forced romantic tracks between Ajith and Nayanthara or imaginary dream sequences, a marked difference from any similar work of this nature that could have become just another 'revenge' saga. Off-late, actors have started to relish negative shades in their characters as it gives them enough chance to explore their range as performers.
Gambler was such a film for Ajith where he was enjoying being a baddie. He continues that with this movie with those silent perilous looks and those apt dialogues that don't bother to extend beyond requirement. However, there's no denying the fact that he could have added even value to a script with a better promise.
Arya shows growth as an actor but stumbles at emotional situations and strips off the limited meaning behind his lines. His presence is evident throughout the 140 odd minutes but his best is visible only in sequences that extract his comic timing to the best extent. While Nayanthara's role serves little purpose than being a watchdog of the hero, she never steps a foot wrong with regard to her acting capabilities.
Taapsee is brought in only to overact the over-excited dimension of an aspirant journalist. She does that to an intolerable measure, especially in the moments she shares screen-space with Arya in their ridiculous 'romance'. Meanwhile, Rana does a fine job in his limited parts. Yuvan Shankar Raja too succumbs to the mediocrity around with an uninspiring series of tracks.
Aata Arambam is a proof that everything that shines is indeed not gold!