It’s the tone of this hero-intro stretch, and possibly the heroine-intro stretch, too.Īpoorva (poor Nivetha Thomas, in a “we need songs, so we need a heroine” role) is a psychology graduate who wants to write a crime novel. I briefly wondered if, like in the Austin Powers instalments, his nipples were going to turn out to be lethal, bullet-spewing weapons, but mercifully, no! Afterwards, we learn that he gives TED talks, walks the ramp, graces the cover of Men’s Health. He quells the violence almost entirely in slow-motion.
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But had this movie been released in theatres, the riot would have been witnessed amongst super-charged fans of Sudheer Babu. I mean, there is an act of mob violence, to be sure. What was that? That last line made little sense? Wait till we get talking about this movie! As you like it: Hamlet, Anthony and Cleopatra. Or if you prefer, much ado about nothing. In other words, this cat-and-mouse thriller is a tempest in a teacup. But when we get down to it, V is just another revenge saga, with a templated second-half flashback that says the victims had it coming. We get thoughts on systemic corruption in the forces intended to uphold justice, like the army and the police. We get ruminations on the evil within us all, even if it’s just the pleasure we get from watching people die in ultra-violent Korean movies. The film opens with a card containing Prospero’s declaration in The Tempest : “At this hour / Lie at my mercy all mine enemies.” At a much-later point, we see the protagonist, DCP Aditya (Sudheer Babu), unwinding with a copy of Wuthering Heights.
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It is filled with high-minded references, from Shakespeare to Emily Brontë. I briefly wondered if Mohana Krishna Indraganti’s V might turn out to be good.