Silambarasan Thesingu Rajendran is one-of-a-kind.
When he says he is in the film industry because of his fans and only his fans, I take his word for it. His movies have no other logical reason as to why it should get screens in the first place.
His fans are everything.
They are the reason why he is still relevant in Tamil cinema.
The worst part of this situation is the fact that Simbu believes this too.
Silambarasan is stuck in 2006, briefly touching upon 2010 before going back to 2006 and is happy staying there.
The most useless thing in a Silambarasan movie off late is the name of his character in the film.
Why bother naming the character as Madura Michael or Ashwin thatha or Rip Van Winkle or even Bilal John Kurishingal if everyone around you is going to refer to you as STR/Simbu/Silambarasan/Little Super Star in every third scene?
AAA starts off with a scene featuring my childhood crush and hence the best part of the movie, a cameo of sorts by the actress Kasturi.
She plays Ruby, an ‘undercovers’ agent, part of a special task force who is out to catch the most dreaded don of Dubai.
Madura Michael(Simbu) is a henchman of someone who resembles Sivaji Ganesan(I think his original name has the moniker Sivaji along with his name).
Michael goes around killing people. He woos the heroine (Shriya Saran) by the most audacious of means.
Things move in some sort of pace before it reaches the interval where Madura Michael is shown to have transformed into Ashwin thatha.
There is not a single reference to this special task force.
Ashwin thatha then goes and does exactly two acts of vigilante justice because well why not? There is space for two more dialogues that can be termed objectification/mansplaining/putting them in their rightful place/misogynistic/just another Simbuism, based on the level of fan you refer yourself to be.
Taking advice from a fellow ‘thatha’, Simbu decides to look for a younger girl for ‘love’ and not ‘lust’ because having a girlfriend/lover/wife/companion works out to be cheaper than an escort(Straight out of a scene from this movie).
Hence, Tamannah enters the movie in the second half.
She is merely a distraction. A distraction that should have made us overlook the inherent flaws in this movie.
But, if even Tamannah couldn’t distract the audience from the personal affront that was happening in the name of cinema on the large white screen, then there is something seriously wrong with the final product. However, the fans were happy that Simbu and Tamannah have a duet-song that references his two hits from a decade back.
There is still not a single reference to this special task force.
Then somehow the movie reaches the point where they announce that the team would be back with a sequel.
A sequel. . .
A sequel. . . But for what? Maybe we’ll know the reason for the existence of the first part in the sequel. If that’s the case…
The Whys, hows, whens and what-the-fluck-am-I watching doesn’t matter.
Nothing else mattered to the hundreds of people who were hooting, dancing and singing whenever their matinee idol came on screen.
The movie might not have a story. The fans were happy with Simbu saying he would disown the girl he loves but would never let down his friend.
The movie might have been one uninspired scene after the other. The fans were happy with Simbu saying one should play reverse psychology to make a girl not do the things she wants to do.
The movie might have borrowed even its styling and ‘punch’ dialogues from movies across linguistic barriers. The fans were happy that he spoke about his movies from the last decade that is still etched in their minds.
AAA might have just one original quirk unlike Adhik Ravichandran’s quirkily effective first film “Trisha illana Nayanthara” (Sengal Psycho FTW… I could have done without having a Sengal Psycho Origins story though). The fans were happy with Simbu saying he is masculine enough to do things even at the age of 58.
AAA might not have a memorable soundtrack. The fans were happy when Simbu looks into the screen and sings
“Ratham En Ratham, Neethanda Ratham
Usura Naan Kuduthalum, Eppadida Pathum
One might ask what is the point of talking about a movie that seems to cater to its fans.
Then, what is the point in talking about movies at all in the first place?
This is not to diss the people who seem to have liked the movie. There is no need to insult or belittle them.
The cinema hall is probably the only place where democracy still exists in its purest form (Of course after the national anthem gets over). I can like or dislike a movie for a range of reasons that has got nothing to do with the quality of the said cinema.
But again, who are we to define the quality of a movie and slot people who do not conform to our idea of quality into various categories.
India is the biggest democracy and see what we have made of it now. Let’s not do the same thing to cinema.
Let there be movies that is good, bad or ugly.
Let there be movies that is universally acclaimed or universally panned. Let there be movies that strive to reach excellence.
Let there be movies that revel in its mediocrity. Let there be space for every kind of movie.
Let there be space for every one to voice out their opinions. Let there be voices that raze down what they think to be a movie that brings down the collective growth of cinema.
Let there be voices that push for those small movies that needs a booming voice for it to be heard.
Let there be a space for all of us to exist, coexist, criticise and enjoy a work of art.
One might say AAA is not art. But, I saw half the audience in my theatre have completely opposing views to mine.
I see my Whatsapp group conversations that has people trying to defend what they thought was an enjoyable film.
I see my social media timeline that points out the flaws in the movie that might pull down the society’s consciousness by a peg or two.
Let there be opinions.
Let there be exploration of ideas.
But yeah, people might then ask the reason for these 1000 odd words.
Wait for the sequel…
P.S. Not a single mention of this task force for the entire duration of this movie except the first seven minutes.
Not a single mention