Today some of the movies are mired into controversies for some reason or the other and Komban was the latest to get dragged, as protesters felt the film would incite law & order issue and everything in the film is derogatory of a community. First and foremost, Komban doesn’t glorify or degrade any particular caste and all these protests are completely absurd. Komban is an accustomed commercial rural actioner from director Muthaiah catered for the masses. Produced by Studio Green, the film stars Karthi, Lakshmi Menon, Rajkiran with G.V.Prakash Kumar composing the film’s music.
Story : ‘Komban’ revolves around three villages Arasanaadu, Vellanadu and Semmanadu, near Paramakudi. Karthi as Kombaya Pandian, a butcher by profession is a do-gooder with a roguish streak and his attitude often lands him in trouble. He sees Palani (Lakshmi Menon) and falls for her and they both get married with Rajkiran and Kovai Sarala’s consent. Karthi does not like Rajkiran for various reasons and a discord occurs between Karthi and Rajkiran suddenly, which leads to Lakshmi Menon leaving Karthi’s house. Later on, Karthi realises his mistake and tries to make amends with Raj Kiran. When everything seems to fall into place, police arrest Rajkiran leaving everyone puzzled. What happens next? How and why is he taken to jail forms the rest of the story.
Komban entertains to some stretch since it is packaged as a rural entertainer which has humour, romance, sentiments. It has got an earthy Tamil rural flavour that Muthaiah has managed to furnish. The village rituals, festivities, the villagers vengeance and their customs have been recorded and these scenes add an element of gloom to the proceedings. While all the elements have been used, one wouldn’t get much delighted about as they are found in disproportionate levels and cramped to just few attributes. And though the comparisons are unpreventable, Komban eventually falls short of Karthi’s debut – “Paruthiveeran”. But what leaves one still satisfied is the film harps on about relationship between son-in-law and father-in-law and their values which is the high point of the film.
Director Muthaiah succeeds in extracting some great performances from his cast. The seasoned and dedicated Rajkiran is a natural and effortlessly portrays the role of a protective father of Lakshmi Menon. Rajkiran’s character is one of the central points of the film and the veteran has done his role neatly. The character is etched out in a way that captures our hearts with its innocence and kindness. After “Paruthiveeran“, Karthi with similar traits acquires the same all-powerful indestructible image that seems to have struck a chord with the audience, impresses with his stupendous screen presence in fights and songs, he brings back his larger-than-life persona and effortlessly destroys the enemy with his power-packed punches-kicks and equally some sharp dialogues. Lakshmi Menon, though type-cast, scores with the limited scope and capitalizes with the sentimental elements attached to her character. Supporting cast like Kovai Sarala, Thambi Ramaiah too were effective. However a couple of villains looked ordinary and jaded except Super Subburayan who looked terrific with his expressions.
The film is technically slick with some fine editing from Praveen & camera work from Velraj is outstanding. Music from GV Prakash is middling, among the song sequences, Karuppu Nerathazhagi stands out which is a nice hummable number and is pleasantly picturized. Background score is in sync with the milieu. The fight sequences are superbly shot, Dilip Subburayan expertly staged shots are incredibly enhanced by Velraj’s well devised cuts.
While on the downside, Komban has nothing new to offer in terms of story and treatment. Until the first half, the film is driven by Karthi’s hot-headedness and rage, and how it affects his family life with a good interval block. The second half of the film is a downer with too many characters coming into picture and the climax being overdone with loud music and tiring which is a major let down.
Although Komban has some moments that ought to connect, the setting is something that we have seen in plenty of celebrated movies in the recent past. And violent scenes, actions and crass dialogues don’t make it suitable for viewers of all ages. Despite all its drawbacks, in a nutshell director Muthaiah has attempted a better film with Karthi, but not a classic like Paruthiveeran (2007) by any yardstick. He is a good writer but needs to hone up his skills as a director who should make a solid commercial film devoid any clichés.
Overall Komban is a satisfactory rural action drama that prospers on Karthi and Rajkiran’s supremacy.