My only exposure to Adhik Ravichandran’s work is through the films Trisha Illana Nayanthara and Anbanavan Asaradhavan Adangadhavan.
Mark Antony is an enjoyable, entertaining movie with a spoofy tone thanks to the cleverness with which he develops the idea and an excellent performance from SJ Suryah.
The movie is centered around a phone that can travel through time. In order to improve or muck up the present, it can assist people communicate with people from the past.
A Spectacular SJ Suryah Takes This Fail-Safe Time Travel Comedy Ashore in Mark Antony, a Review
This phone is given to Mark Antony, who is the son of a gangster by that name. In the movie, we witness what happens when Mark makes the decision to call his long-deceased parents on the phone.
What we witness in the movie Mark Antony is how the entire incident alters many things that Mark believed.
SPOILER WARNING! The movie does not use Christopher Nolan to examine the idea of time travel through technology. And very early in the film, Adhik establishes that mood.
But the way the sequences are put together exhibits the disarray and muddled humor we see in Adhik’s movies.
The intermission segment of the film, where the antagonist SJ Suryah discloses his true motivations and the power dynamic shifts, is the most exciting. The idea is introduced to the viewer in the intermission segment.
The movie’s second half is an SJ Suryah performance. Adhik was stretching the idea for comic effect when SJ Suryah simply owned the scenes and saved the picture.
Impressive acting is given by Vishal towards the film’s climax. The actor is a little stiff while handling the comedy as the younger versions of both the son and the father.
As I’ve already stated, SJ Suryah is the true star of the film, particularly in the second half.
The father from 1975 is given advice to kill the hero during a scene in the second half so that he can have a life as a gangster in the future by his son from 1995.
The entire crowd laughed out loud due to SJ Suryah’s flawless portrayal in that entire sequence and several scenes that followed.
I don’t believe the sequence would be as charming if SJ Suryah were to be removed from it and replaced by any other performer. Ritu Varma, the female lead, doesn’t really add anything to the movie.
It was entertaining to witness Selvaraghavan in the role of time machine creator Chiranjeevi (excellent naming). Redin Kingsley is yelled at by the sidekick. As Ekambaram, Sunil receives a role that is both interesting and nuanced.
The fundamental idea is a clever one, as is the way they built comedic interpretations around it. However, there are instances when the loud hilarity overpowers the writing’s brilliance.
One of the most recent movies to employ the idea of time travel in a fun way was Maanadu by Venkat Prabhu.
While the attention and investment in the central idea were strong in the last picture, they are somewhat compromised in this one by the attempt to combine them with the usual mass masala format.
The set pieces are knockoffs of KGF and Thallumala, and the songs are forcibly inserted.
These intense colors are used in the production design and cinematography of the movie by Abinandhan Ramanujam to heighten the fantasy atmosphere.
The movie’s opening sequences have some incredibly jarring quick cuts. On the other hand, a few of the match cuts in the second half were excellent.
Mark Antony, directed by Adhik Ravichandran, isn’t a perfect movie. You won’t find it easy to sit through some parts.
However, when SJ Suryah lets loose in the second half of the film, the concessions and overarching narrative concerns are forgotten.
I wouldn’t say that I was a big Mark Antony fan. Sincerely, it hasn’t given me any confidence in Adhik Ravichandran’s sense of direction. The film could or might not hold up with time, but SJ Suryah’s performance in it will be remembered for a very long time.