There is a scene in the middle of Michael where the title character is dissatisfied with how things are turning out. So he pulls over and sets fire to a car that honked at him. The antique car burns up inside a tunnel while being engulfed in smoke. The scene appears both brilliant and pointless. The hero’s rage and his potential are implied, but they are never actually demonstrated. In another scene, a gangster’s mother is seen lying next to his son’s bloody body. As director of photography Kiran Koushik slowly raises the camera, their two bodies come together to resemble the Yin-Yang symbol.
Does it refer to the mother-son relationship in any profound way? Does it matter in the story in any way? All of these questions have a resounding “no” as their answer. Although Michael’s stunning frames are intended to make us gasp, we instead find ourselves wondering, “So?”
The horrifying aspect of Michael is the conviction with which its creators erect a massive budget and technological bravado on the thinnest of tales. Throughout the majority of the film, the protagonist keeps a lot of his intentions a secret. We only know that Michael seems to be craving violence and that he aspires to be like Guru (Gautham Vasudev Menon), a sophisticated Mumbai gangster. In a fruitless attempt at myth-building, the movie doesn’t even show us Michael (Sundeep Kishan) until thirty minutes have passed.In a valiant fight sequence, he saves Guru, quickly gaining his trust. Michael is then dispatched on a mission to stalk Guru’s enemy’s daughter and kill both of them. Like so many of these tales, Michael finds himself falling for Theera (Divyansha Kaushik).
SS Rajamouli about movie
SS Rajamouli When discussing his action sequences, stressed the need to give them an emotional motivation. What Michael lacks is precisely that. There is no emotion in the drama that director Ranjit Jeyakodi attempts to produce because the setting is too cold for such feelings. Consider the way Guru tells his wife about the passing of their son. “Our son is dead,” he says. Exactly that Theera responds to her dad being shot dead in a manner similar to that. It is unreasonable to expect the audience to feel anything for these cardboard cutouts when even the characters are emotionless.
Toward the end, Michael introduces his hero, and we are ‘told’ the motivations behind his actions. However, because we are already worn out from bloodshed and severed heads, this revelation does not have the intended impact. Additionally, the hero doesn’t require a compelling reason for what he does.
Idhellam oru ponnukagava panra?, Guru asks Michael in the movie’s trailer. Michael Nambavae mudila (Michael, are you doing “all of this” for a girl? I find it hard to believe. Simply swap out “a girl” for “this film” to convey the same message to the creators.