Sushmita (Anaswara Rajan) is the niece of a seamstress (Trisha) who works in online media. A fake Facebook account is being operated in his name. Taiyal Nayaki, who wants to rescue Sushmita from it, starts chatting with Alim, a terrorist from Libya, through that fake account. Thinking it is Sushmita, he is also talking. Seamstress and Sushmita are made pawns in the conflict between agents and terrorists of superpower countries who want to loot the country’s oil resources. Did they recover from it? Who is Alum? The rest of the story answers the questions.
Director AR Murugadoss has written an interesting story relating the problems faced by young women through social media and the politics of international oil resources. M. Saravanan has written and directed a perfect two-hour long screenplay and has written and directed very sharp dialogues here and there. Centering on a heroine with self-reliance, independent thinking and a clear socio-political vision is also mind-blowing.
In the first half, most of the lines spoken by the seamstress about journalism and women are entertaining. The way she handled the Facebook controversy regarding her nephew’s daughter also shows a mature attitude. Alim is known to be a terrorist but armed background and despondent yearning for love and the seamstress takes pity on him and at one point it blossoms into love are beautiful twists.
A lot of verses are spoken about the international oil business, and therefore the problems that arise in African and Islamic countries. But these verses fail to make their due impact as the names of the countries have been censored.
The logic errors that abound in the screenplay also dilute the film’s good intentions. The way the CBI and international authorities are handling the seamstress who was conversing with the terrorist is childish.
In the end, the confrontation between the international authorities and the terrorists did not have the desired effect.
Trisha has given a mature performance. Menaket is in the fight scenes. Anaswara Rajan has beautifully played the role of an innocent who cannot understand anything happening around her. Lizzy, who plays the sister-in-law, attracts attention in the scene where she expresses her inner love for the seamstress. Satya’s background music adds to the visuals. Sakthivel’s cinematography and Subarak’s cinematography are suited to the nature of the story.
This ‘Rangi’ would have been thoroughly enjoyed if the logic errors had been corrected.