The rise of a Superstar and his confessions as a gesture of gratitude for his Guru and family before his life culminates is the basic premise of Uttama Villain, which has been delivered with the blend of some unique elements of 18th century drama. The film is directed by Ramesh Aravind with an ensemble cast of Pooja Kumar, Parvathy Menon, Parvathy Nair, Urvasi, Jayaram, MS Bhaskar and many others.
With his life at stake, Manoranjan (Kamal Haasan), the reigning superstar decides to reconcile his past and the bitter moments that he created among the ones who helped him touch the greatest heights and try to correct his past life.
On the performance of Kamal Haasan, there needs to be no words to delineate him and he is a master in himself who can bring out the emotions with a greater depth. There are many sequences in the movie that get our attention and that doesn’t fade from memories shortly. The sequences that involve Kamal Haasan with MS Bhaskar, K Balachandar, his daughter Parvathi Menon, Jayaram, car driver et al leave us so much frozen in tears. What turns to be more intriguing is the episode involving Kamal Haasan and his son and the climax sequence that involves Iranian Nadagam and the hospital turmoil. No one other than Kamal Haasan would love to get their faces disfigured for the reality factors and the way he shows his terrible transformation on face with the advanced tumour has no ways to be described. They are non-verbal emotions that leave you soaked in tears of heaviness.
Kamal Haasan and only Kamal Haasan – The complete show belongs to him. The way he has delineated other characterisations is a beautiful mark, except the delineation of Andrea Jeremiah, which gets so much imbibed with ‘Reality really bites’. Too much is always too bad and her roles stand out to be a stark illustration. If her role was little bit tailored with some goodness, it would have gained additional strength to the film. Other than this, the length of this film, especially the episodes of drama film portions shooting should have been trimmed. This actually hampers the impact of the emotional drama that is happening at other end.
Musically, Ghibran’s works stand out as the prodigious element with his background score and the orchestral works in ‘Iranian Nadagam’ becoming a fabulous pillar.
Overall, ‘Uttama Villain’ has the best dose of emotions traversing through the life of a superstar with more impact, but the length of this film with unwontedly extended sequences of period film shooting and characterisation of Andrea Jeremiah and her relationship with Kamal Haasan slightly eclipses the powerful climax.
Verdict: Mind-blowing concept and performance packaged with mediocre narration.
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