It’s always nice to have a memorable experience on a budget, as you’d expect from a thrilling crime thriller. However, Alpha Adimai is more than just a well-made film, as it presents itself successfully without relying on surprising twists, with a simple plot revolving around just five characters served in just 88 minutes.
The film begins with a quote from Dostoevsky:
Which is aimed at people who secretly like the wrong thing. Then he introduces two young men looking for a dose of their drug. The two drug dealers with a newly recruited junior employee. And a team of cops working with tips for holding hands. After a few relaxing sequences, the great train ride to the amusement park begins as everyone makes their plans together.
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Like a one-night stand, another unique selling point of this film is that it doesn’t follow the basic norms of character demonstration and is exclusively about a few characters interacting with one another.
The story clearly shows who the villain is, and you know very well how it will end. Nevertheless, the show turns into an entertaining thriller that bites the nails and keeps audiences drawn to the predictable climax.
The film moves at high speed and works mainly because of Poona, played by Eshwar:
Who kills her on-screen with cold eyes and sinister instincts. The quiet character is formed after identifying the traps set by the police and from there, it’s fun to watch him play unexpected mind games.
Including the drug dealers, we have Kalki (as the boss) and Ginovi. The screenwriter-director himself, who brings humour and give the film a second-best performance. All three do a great job with their happy lines and excellent body language.
Alpha Adimai (meaning alpha slave) can do without the annoying chicken jokes, fast flashbacks, and forced gay angles. In the script to expose the demons. That live within every human being waiting to be revealed. But the stakes do not hurt production.
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Apart from that, it is also worth seeing for its effective cinematography, sharp cuts and background evaluation, which above all contribute to the film’s stunning effect. Saying this is sure to be a gem of a new era, with a little more detail about the characters exploring their criminal souls.
Dheeraj and Vicky are thrown into this mess, caught up in the fight for Alpha.
They were so desperate to score that they went up to Mayilsamy’s location. After the score, the police caught them grazing in a relatively comfortable letter. At the same time, Ponnan agrees to use it to transport grass to Ooty safely.
This creates the most exciting parts of the film when things move at a fast clip, even if they are predictable. Without piling around the characters or villains you see in mainstream movies, Alpha Adimai effectively moves through its plot points.
But screenwriter and director Ginovi tries to add a layer of interpretation to the hidden Alpha within us, and it just doesn’t go well with a straightforward and rarely written thriller. Instead of being a straightforward and immoral story, this film tells an ambitious but schematic story of how Ponnan works.
At various points in the film, you get a picture of his mother. You can see an associated trauma, but remembering the late mother is a typical picture. That alone doesn’t explain why one should suddenly be rude. It’s the sort of scattered detail that takes you off track, doesn’t deepen your understanding of the film.
A casual homos*xual interpretation is added to Dheeraj and Vicky’s relationship. When Mayilsamy’s gang taunts them for being g*y. There is also the usual recurring joke of Aaru playing under the name of a rooster named Kanju.
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Ironically, the film ends up contradicting its opening quote and explaining why the seemingly innocent Ponan chooses to turn violent. Dostoevsky has stated that people make mistakes simply because they secretly love.