In one of the comic sequences of the film, Soori tells Vemal to join Facebook and Twitter. And our so called street smart hero replies by saying “Adhula laam sera evlo da selavu aagum?”. Yes my dear friends, Oru Oorla Rendu Raja is replete with jokes of this kind, some even worse.
OORR begins as a no-brainer, just like many other films which have been churned out in the past. Vemal and Soori are introduced as two happy-go-lucky fellas, who happen to catch a train thanks to an inane flashback story. Director R.Kannan does spray some spice with Priya Anand’s entry, as the story takes an interesting turn with the actual plot coming into play. Vishaka Singh has a good role here, with an important issue as the pivot. But once that’s wrapped up, it moves onto a rather predictable and uninteresting track filled with clichés and unnecessary commercial infusions. Kannan’s inability to grip the viewer with an engrossing screenplay hits back at him, the film is devoid of a clap worthy moment on the whole.
Walking out from his earlier films and walking into this one, Vemal continues to be the stick. The amount of expressions on his face are just a handful, as there is nothing to take away from his part. Soori continues to be the annoying piece, as his character keeps reciting one-liners which receive a straight face. However, one must laud him for his dancing skills which have gone up by a mile. Priya Anand is the saving grace of OORR. With more screen space than the heroes, her character in the film has been penned well, with a notable amount of maturity and scope to perform. Nasser has one of his worst makeovers ever, accompanied by Anupama who has the same grumpy expression to showcase throughout the film.
Cinematography by PG.Muthaih is neat, except for the overdose of aerial shots. The songs have been shot with a lot of colors which make them visually appealing, especially Mazhakaatha and Sundari Penne. Editing is decent at just over 2 hours, as pulling the film anymore would have made it a drag. Imman’s work in OORR is on the positive side, helping the film with both the songs and the BGM.
Oru Oorla Rendu Raja ends up being the film we all thought it would be. After an impressive debut in Jeyam Kondaan, it is saddening to see Kannan coming up with trashbags like Kanden Kadhalai, Settai and this one. At the end of the film, a card pops up saying ‘Save Human’. I’m hoping the director didn’t mean the audience.
One city two kings. One review two stars.
2 / 5