‘Varavu’ movie review: A dated revenge film that refuses to serve anything novel
Varavuis the kind of film that gives one the feeling that the action sequences were probably planned out first, with an excuse of a storyline
Varavuis the kind of film that gives one the feeling that the action sequences were probably planned out first, with an excuse of a storyline added later. Well, there should be a reason for the fights. Can there be a better reason than a good old revenge story of 1990s vintage set in the high ranges? The film is too eager to showcase its fights that by the time we get to know even the name of the protagonist, Paulson (Joju George), two long fight sequences are over. Shaji Kailas, who is not as prolific these days as he used to be in his heyday, depends on a variant of the run-of-the-mill revenge story for Varavu. Paulson is returning home from jail on parole, citing a personal reason, but it is clear that he has a few scores to settle.
At the same time, there are quite a few waiting to take him out, evident from the attack by two separate gangs before he even reaches home. Screenwriter AK Sajan and director Shaji Kailas have individually as well as together tasted blockbuster successes in the 1990s, but over the past two decades, much of their fare has felt dated. Things are not very different in Varavu, in which we witness the comeback of a cinematic style that has long lost favour with the audience. Joju George, who fits well into the character with his world-weary swagger, might have wished this film had been released a few decades ago, when it would have pulled in the masses. Varavu (Malayalam) Director: Shaji Kailas Cast: Joju George, Sukanya, Arjun Ashokan, Deepak Parambol, Murali Gopy, Baburaj, Saniya Iyyappan, Baiju Santhosh, Vani Viswanath Runtime: 143 minutes Storyline: A man returns home on parole after several years in jail, sworn to take revenge on those who wronged him The film does have one element of mystery, related to the disappearance of a character, which could have been used effectively to create some interest in the narrative.
But the way this part of the story is presented completely takes out any element of surprise from it. Even when his name is used by another character repeatedly to execute a series of violent acts, no one actually buys his story. Everything is spelt out clearly by a writer who appears not to want to leave anything to the audience’s imagination or let them have any lingering doubts in any scene. The intentions and actions of all the characters are predictable, so much so that even a backstabber does everything short of walking around with a name board saying he is one. All the typical Shaji Kailas elements appear in the action sequences with an added dose of gore.
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