As to who Mr. Kamal Haasan is making films for of late, the answer is very clean – himself. That’s Ok if he just made if available to us for free, or may be released it on Netflix (or Amazon Prime). Why bother us by inviting us to go to a theater to watch him self-indulge!

Here I go, again.

A story-teller has two simple/critical tasks: 1. Imagine vividly/wildly/without holding back 2. step back, take in the view and chip away at the stuff that doesn’t add up. In other words, it doesn’t matter how well you create, it matters how much you are willing to destroy to strike an equilibrium (or something close to it). Kamal lacks the discipline to let go and the movie (and us) come up losers.

If you’ve watched Vishwaroopam 2, just imagine if I ran a scissor around the entire “London episode”, would you really miss anything from the film? Of course, the film would have been shorter and would have lacked the punch. But do you build that punch around a story or build a story around a punch?

The second installment of Vishwaroopam is way more lucid and better crafted than the earlier one. Here’s a key to why it feels that way – Vishwaroopam 2 fills in (very cleverly) all the gaps that Vishwaroopam left open in the first place. If you take away the pleasure of watching the pieces fit the puzzle, what’s left of Vishwaroopam 2?

If Vishwaroopam 2 proves something, it is Kamal’s brilliance at staging and capturing scenes as a director. Waheeda Rehman shining some illuminating glimpses of what control in acting can do. Ghibran playing in with a finesse that very few music directors (today) are capable of.

All of it cannot help the pacing that is lost between what a taut thriller and a director having too many cool ideas to show off. This is a film that’s begging to be used in discourses on the virtue of economy in story-telling and film editing.

About The Author hemanth