Komban Movie Review

Commercial films. Maybe critics shouldn’t talk about them. Maybe people shouldn’t find faults in them. Or maybe everybody should watch it, have fun and forget it. But here I am, with my thoughts on Komban. Because as much as this film is cliché ridden, there is something to like about it too.

Komban review

When director Muthaiya penned down the script for Komban, he never wanted it cater to all the centres. His first film Kuttipuli was a downer at the A’s but we all know how much it raked in at the Bs and the Cs. But with Komban, the weight on Muthaiya’s shoulders was a little more than his debut attempt. The first reason was because of his main man Karthi, who was coming from the success of Madras. Karthi couldn’t afford another flop, he couldn’t listen to any more bullshit from the critics or the public. The second reason being that Muthaiya had to make a C centre film, which was accepted in the B centres and not thrashed in the city. And yes, he pulled it off. To an extent.

The biggest asset in Komban is Karthi’s terrific screen presence. Be it the songs, comics or the fights, the actor is in full form as the rural getup fits him like a T. His big L-kick will be remembered for a while. Lakshmi Menon doesn’t look her best, but she does get a scene to score and show off her boldness. Thespian Rajkiran, what a man. The actor brings out emotions in a jiffy and easily makes you connect with his characters. And yes, Thambi Ramaih and Kovai Sarala tickle the funny bone occasionally. On the villainous side, Super Subburayan comes out with a scary stare, and the fact that we get to see a new villain is advantageous.

Komban is where a decent, watchable film turns to its brighter side thanks to the technicalities. For the first time, I loved Velraj’s lenswork, especially the night sequences in the latter half. I can never forget the blurry blunders in VIP, but Komban nullifies that with some really good camera angles for the stunts. Editing was neat, although the climax could have been toned down by a bit as it goes over dramatic. As for the stunts, Dilip Subburayan makes it as visually appealing as possible, rather than going for the realistic draw.

On the flipside, Komban lacks a strong climax which cools the mercury on what could have ended the film on a high. With jarring, noisy BGM which is flicked from Mankatha, the fag end of the film is loud and dragging. But looking at it aerially, it is an enjoyable flick which plays to the gallery.

Verdict: Likable rural entertainer.

3 / 5

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