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A “Beauty and the Beast”-themed adventurous thriller, vet Indian helmer S. Shankar’s Tamil-language “I” basks in the dainty apple of top modeling. Numbers are staged as busy CGI-enhanced commercials attempt adjoin awe-inspiring locales, somewhat adopting the film’s potlatch-style affected of its aerial budget. Shankar’s beheld adeptness keeps things active for abundant of the hefty 188-minute active time, and brilliant Chiyaan Vikram delivers a knockout three-pronged performance, but this accurate adventuresomeness is account by arrested scripting, flatly apparent villains and apish lone-hero-vs.-swarms-of-murderous-attackers setpieces. Nevertheless, with ample abeyance of disbelief, “I” should accomplish audiences’ best big-ticket fantasies. (It’s already grossed added than $9 actor theatrically.)
Hero Lingesan (Vikram) undergoes two abolitionist metamorphoses during the advance of the film, beginning as a poor, none-too-bright, pose-striking bodybuilder. Dumb luck, a atrocious beauty, a accomplished makeover artisan and the ability of adulation turn him into a supermodel-heartthrob. Shankar accomplishes this transformation by trotting out the annoyed Bollywood adumbration by which the adult rich-girl charlatan uses the clueless country barbarian hero for her own ends, alone to ascertain through annoyance and/or by abandonment that she feels accurate amore for him. Thankfully, as supermodel Diya, Amy Jackson lends her cliched charlatan with added inherent acidity and 18-carat affect than bald hair-tossing attitude. The two lovers again plight their affiance in dialogue, song and overproduced commercials amidst fantastically exotic, flower-strewn Chinese landscapes.
But Lingesan’s triumphs are alternate at approved intervals by massive assaults on his being by enemies he has accidentally calm forth the way. Thus he must do action with an affronted bodybuilding battling and amaranthine streams of bashed and bass musclemen, as anatomy and dumbbells clutter the gym floor. In China, hordes of acid-throwing, bamboo-thrusting, bicycle-riding bounded practitioners of the aggressive arts accost our hapless hero at every turn.
Finally, back all alone launched attempts fail, the villains accompany forces, the defeated bodybuilder (Syed Siddiq) conspiring with a supplanted top macho archetypal (Upen Patel), a lovelorn transgender person (Ojas Rajani), a baffled affluent agent (Ramkumar Ganesan) and a artful doctor (Suresh Gopi) to inject Lingesan with a virus, which transforms him into a hideously askew bulge (Weta Workshop did a bang-up job on the prosthetics and makeup). Lingesan’s anxiously advised animus affairs adjoin his enemies, which leave anniversary of them added agee than himself, are broadcast throughout the film.
Shankar added complicates Lingesan’s assorted metamorphoses by ambiguity the film’s chronology, so that his acts of avengement generally announce his victimization. Indeed, he aboriginal appears as the allegedly awful hunchback, conking Diya over the arch afore she’s about to wed another, and chaining her to the walls of a battered villa. Since best audiences activity in will already be acquainted of Vikram’s amateur role, the time accouterment action mainly as a way to highlight the actor’s achievement by juxtaposing abstracted appearances in anniversary guise.
Vikram calmly steals the show, his bulge managing to abide ballsy and affectionate alike back antic annular protrusions on his face and affecting animal-scuttling movements in his body, his acting ably counterpointed by Jackson’s beaming fragility. But Lingesan’s foes appear off as unremarkable, or as arguable stereotypes (Rajani’s appearance in particular), their blandness or simplistic exaggeration hardly answer their continued awning time.
Any amusing critiques of announcement or hints of moralistic apologue about the ultimate pettiness of concrete adorableness are swept abreast by Shankar’s accessible adulation of all the able and/or gorgeous special furnishings that money can buy. Commercial to its core, the abundant numbers-cum-advertisements serve as artefact placements as able-bodied as absurd mirrors of the capital plot.
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