The same face. Revenge is a dish served cold. It should be assumed that this expression was taken as an axiom by the main character of the film.
The beginning of the tape, characteristic mostly of detectives, is confusing with the declared genre of comedy: a note with a date was brought to the police, but they did not pay attention to it at the station. Then, on the day indicated in the note, a local official was killed. Next to the corpse found another note with the date of the next murder, but the inspector decided to calmly wait for his commission, as he hoped to reveal the connection between them, motive, evidence. Shakti, a simple boy from the village, is put into action; he has just received an invitation from his uncle to come to the city to work.
Of course, the dynamics of action is present, for this there are all components: songs, fights, gags. The hero does not long walk alone in the city: immediately upon arrival he manages to meet a girl. But the romance only shows up in clips. Fights are messy and redundant. Vadivel jokes are sometimes not fun at all. The arrogant combination does not produce the desired effect and leaves the film a relatively slow pace of the average hand of the detective, although, in fact, the comedy component is somehow brought to the fore.
All this takes a significant share of the pleasure from viewing; you have to remind yourself more than once that you should not give up viewing halfway, that the main role is played by Madhavan, that up to the last frame there is a hope to hear a beautiful and beautiful song... Then the middle of the film becomes a turning point, and the second half - the salvation of this tape in the eyes of the viewer.
Perhaps the change in perception is played by a twist taken by humor; a warm home atmosphere; genuine, albeit fleeting, romance; an ambiguous ending and, not least, a “mobile” song. Jokes take on a more witty character, and with the help of a forgetful servant, a loving friend and a concerned grandfather, a comedy performance on a remarkable "book of love recipes" unfolds in the yard of the house. And for the sensual scene of “enlightenment before the wedding night” in general, much can be forgiven. In addition, although at the heart of Mobila Mobila, as in the case of the rest of the songs of the film, an easy, nondescript motif, but to build the entire composition on comparisons with a mobile phone and put into the mouth of a young man metaphors like “Am I your subscription or prepaid card?” is not an easy task, and the idea is original. As for the final, its design is impressive: the viewer does not open all the cards at once, but only one after another opens the veils, alternately leaving the serve behind one, then behind another opponent.
Not to say that the film is missing something, and what exactly, and it is unclear, because in this case everything is very clear: the comedy line, launched from the beginning, does not allow the picture to become a thriller or drama; the detective element does not allow it to be considered just a comedy; the melodramatic component does not receive proper development. The film looks like a clumsy patchwork, some parts of which are selected and sewn somehow, but when you look at it with regret you realize how beautiful it could be. It was only necessary to direct the humor in a different direction from the very beginning, and the viewer could enjoy the sharp satire and quality of the thriller, characteristic, for example, of “The Stranger / Anniyan”. But in the current conditions, it remains in the first half to put up with the scene from the “Devdas” directed by Sanjay Lila Bhansali, with an abundance of fights and stupid jokes, in order to finally understand the degree of similarity of the “Two” with the “Capture Yourself/Gagini” directed by Murugados; to appease the fleeting “mobile” love; to rejoice that Anushka plays and how he sits on the twine; to admire Madhavan, who in the second half is a miracle as good; to cry over the absurdity, to bring to the finale, and to complete the symbol of poetry.