Review: In some ways, Sivakarthikeyan’s films have become the McDonald’s of movies. You know what you are going to get when you walk in, and the slick packaging ensures that these movies satisfy our need to be diverted out of our dreary daily chores. So, it is no wonder we get a sense of familiarity when we watch Remo. The film is a rejig of elements that we have seen in other films earlier — like Tootsie, Avvai Shanmughi, Minnale, and Sivakarthikeyan’s own Maan Karate... But these inspirations and influences come together as a whole, and the competent manner in which this is done keeps us entertained.
The plot revolves around SK (Sivakarthikeyan), who wants to become an actor. “Padithaal velai dhaan kidaikkum, nadithaal naade kidaikkum” — this is what he says when someone asks him why he wants to act. He gets an opportunity to act, and the role demands that he dress up as a female nurse. But he also needs to play a romantic, and that’s a problem for SK, as he gets nervous around girls. And that is when Kavya (Keerthy Suresh) walks into his life. Cupid strikes (the film makes it quite literally, with an animated Cupid hovering around him waiting with bow and arrow in hand), however, the girl is engaged. Still, an opportunity presents itself when he meets Kavya dressed as a nurse. And SK becomes Remo!
The real surprise in Remo is how well the romantic moments work. Like the scene where SK wishes Kavya on her birthday or when the two share an intimate moment inside a bus… But the romance is a candyfloss one and lacks depth. Thankfully, for the most part, Bakkiyaraj Kannan ensures that SK’s act comes across more as a happy-go-lucky guy trying his best to woo the girl he is attracted to. He even justifies it saying that one who doesn’t try to win over the girl isn’t qualified to fall in love. And the use of a kid who gets attached to Remo also softens the stalking angle. But there is a misogynist streak as well that rears its head now and then and is used just to get some applause.
Remo is also an exercise in building up its lead star. The film is sprinkled with many references to Sivakarthikeyan’s films and images, as well as references to Rajinikanth, Ajith, and Vijay. The actor, who is amusing as Remo, carries the film, even in the weaker moments (the final half an hour is a needless stretch), and as usual, he is ably supported by the technical team of Anirudh and PC Sreeram, whose peppy music and glossy visuals respectively lend richness to make us buy into this fantasy.
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