Aaru turns out as solid as the reinforced steel that the title is written with. Thanks to Hari, Sivakumar and Surya, the movie looks tight and entertaining. If you expect me to spell out the attributes, I’m talking about Hari’s impressive screenwriting, Sivakumar’s genes and Surya’s conviction with the role.
Hari has repeated his Saami formula here, effectively. In Saami, we had a street-smart Cop going after the bad guy; with Aaru, we have a street-smart Adiaal teaching the bad guys (his masters, who rub him the wrong way) a few lessons. He add enough twists to this old wine, to keep you comfy in your seat. The climax does seem like a drag, but it’s a formality you’d forgive.
Surya breathes fire with dialogues, that suit his expression and body language to the T. From the moment he takes on chief of the Nathan clan (Ashish Vidhyarthi), your adrenaline gates are opened wide. Never have I seen an Actor use some Tamil insults with such ease or control and not offend your senses. It is however hard to digest a aruval-wielding rowdy who swings between terrorising people and melting his heart too often.
Trisha has by now mastered the act of a damsel in distress; jumping into weird costumes, breaking into a dance right after she starts crying and hugging the Hero. She’s spent so much time with villains on a Sumo or a Qualis, for all practical purposes Tata and Toyota can start using Trisha as their official mascot.
Vadivel’s comedy doesn’t make much impact. He starts a joke very well, but finally falter without the punch. You embarrass yourself by giggling at the wrong uns.
Aaru has been made with the same class as Ghilli and I’m positive it’s going to see similar returns. From the choice of Trisha and Vidhyarthi; to the Telugu speaking baddie, Aaru’s been done with Surya’s growing clout in Andhra, in mind. The Telugu version is also titled Aaru (not Aarulu).