The Legend Tamil Movie Review
Cast-;
Saravanan Arul , Urvashi Rautela , Geethika Tiwari ,Suman , Prabhu , Nassar , Vivek , Robo Shankar , Yogi Babu ,
Vijayakumar , Sachu , Latha , Livingston , Vamsi Krishna , Thambi Ramaiah , Devadarshini , Munishkanth , Deepa Shankar , Hareesh Peradi , Singampuli , Mayilsamy , Mansoor Ali Khan , Besant Ravi , Amudavanan , Ashwanth , Ash okkumar , Manasvi Kottachi , Yashika Aannand , Raai Laxmi , and others.
Crew-;
Directer – J. D.–Jerry , Writter – J. D.–Jerry , Pattukkottai Prabakar (Dialogues) , Producer – Saravanan Arul , Ci nematography – R. Velraj , Editer – Ruben , Music – Harris Jayaraj , Production company – Saravanana Producti ons ,Distributer – Gopuram Cinemas , P R O – Nikkil Murugan ,
Story-;
The story revolves around Dr. Saravanan, an apparently world-renowned scientist who has revolutionised the antibiotics field, who chooses to work from his village for the sake of his people. Spurred by the death of his diabetic friend, he decides to invent a cure for the disease. But this spells bad news for the pharma mafia, which has already suffered a lot because of Saravanan’s earlier research – antibiotic requirement test. So, their Indian operatives decide to sabotage Saravanan’s research, even causing him a very personal loss. Can the scientist find it in himself to go ahead with his research and succeed in his endeavour forms rest of the story.
Watch The Trailor-;
Movie Review-;
‘The Legend’ is a sign that we are advancing as a society because a film hero is worried about a cure for diabetes instead of losing his brain over discovering a cure for illiteracy. This is akin to an onscreen saviour itching to end underemployment because unemployment is no longer vexing the vast majority of voluntarily unemployed yo uths of India. See, we have to be positive in life, especially when we voluntarily submit ourselves to a compreh ensively overconfident film like ‘The Legend’. Such surprises are everywhere and the idea isn’t really to serve the screenplay. The makers seem to have started with a to-do list of a certain number of fight scenes, chases and so ngs to show the full range of both its lead star and the film’s producer. As the lead actor, Saravanan is quite limited.
A heartbreak scene that follows a scene right out of The Godfather (more Apollonia than Michael) is unarguably the best scene of the film. Even when he speaks, it never feels like a human being talking to another (he talks di rectly to the camera too). They are philosophical pearls of wisdom that are meant to break the fourth wall and instantly improve the lives of the millions of people watching the film. There is formula. Then there is this film called ‘The Legend’, where the writing department seemed to have worked blissfully in silos. One writer was told to pen laboratory scenes where our scientist-hero utters elementary scientific truths as though nobody in the room has ever seen a Standard V science textbook.
Another writer was told to write scenes between hero and comedian after being given full liberty to copy from the oldest possible movies of every conceivable outdated masala filmmaker down the Vindhyas. Yet another wr iter was motivated to dedicate himself to writing song situations and this particular writer was mercilessly foo led into believing that the situations he was going to create would be used for a Rajinikanth film. When he’s not prophesying, he explains the functions of the human pancreas to a lab full of the world’s best experts on the sub ject. It sounds like he’s reading the first para of the first Wikipedia link that appears when you google “pancreas”. But for these doctors, this is shocking information. In one instance, Saravanan stops mid-sentence to praise the charm of Yogi Babu’s dark skin tone. But we weren’t doubting that anyway.
This sort of lofty pitch for the dialogues is consistent throughout. Like the big menacing punchline a menacingly evil villain keeps repeating. What is it? Oooolaa! By now, you would have got half the story. You are wrong. You have got the entire story with the exception of a scene where a young DNA researcher behaves as though she h as just come walking out of the villain’s den to honey-trap the scientist-hero, who by the way spends as much ti me in the lab as Karan Johar spends putting governance-related questions to his guests on Koffee With Karan. T he supporting actors aren’t actors as much as they are highly-paid hype bros. They are there just to speak about the greatness of their Legend in a series of enthusiastic rants. When you further add a convenient set of plot tw ists that bring the film to a hilariously OTT ending to address an appa sentiment, you’ve got a dozen movies at the price of one ticket.
When the film wants, it can also be classy and subtle like when all the bad guys appear in black, with the good g uys dressed from top to bottom in white. Hidden not so subtly in this jarringly colourful movie is a scathing cr itique of crony capitalism. It addresses a very serious issue in the way pharmaceutical companies collude to keep medicines beyond regular people, often marking up the cost of production for huge margins. But the actual arg ument against capitalism is this film itself. It shows us what loads of nothing but money can do to an art form like cinema. The Legend is nowhere close to being a real movie and it is, instead, a big, bloated ego trip that believes money is the same as creativity. It is also the most fun you’re likely to have this Aadi season. Our hero is ultra-ta lented and can conjure up miracle cures provided someone close to him dies of sickness.
Until then, he won’t be motivated enough to abandon romantic acts with a lecturer in a college run by his family (ostensibly, philanthropy runs in his family). Something that can be charitably described as research takes place and all scientists in the lab come running to him in joy, saying, “It is positive. It is positive”. Even my Complete Bl ood Picture report took longer in real life, I felt. A blast scene comes in handy to parade the film’s entire cast. Out of the blue, a whole joint family appears at the blast site to console a character who is purportedly sobbing. Wh en our hero saves a woman (Geethika) from vandals-cum- rapists- cum- potential murderers, his family members start wooing her as though some Astrologer had told them he will stop giving moral sermons once he gets marr ied. (To be fair, he is not always into sermons.
As a scene where he cautions against sharing OTP with unauthorized callers proves, he is sometimes into dishing out cybercrime awareness Ads to his kith and kin) The film features the likes of Urvashi Rautela, Suman (his mo ustache was designed by someone who was told that all pharma company owners in the world look like gangst ers from forbidden Bollywood movies), Vivekh, Nasser, Prabhu, Vijayakumar, and Yogi Babu. But none of the act ors has got an original scene. Harris Jayaraj’s music is pretty decent. R Velraj’s cinematography is another plus. SS Moorthy’s art direction is respectable. The dance choreographers (Raju Sundaram, Brinda, Dinesh) is better than the stock stunts by Anl Arasu.
This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only
Written By- T.H.PRASAD -B4U-Ratting-3 /5
