A riveting battle of wits
‘Aaryan’
– Review
A disgruntled, failed writer named Azhagar (Selvaraghavan) hijacks a live television broadcast to announce his meticulously planned “serial killing story” and then shocks everyone by committing suicide on air. This makes his death the first act in a series of pre-planned murders.
The case is assigned to DCP Nambi (Vishnu Vishal), a dedicated but personally challenged cop (he’s literally in divorce court). With the prime suspect already dead, the investigation shifts from a traditional whodunnit to a “howdunnit” and “whydunnit”.
Nambi must race against the clock, following pre-recorded videos and clues left by Azhagar, who acts as a literary Jigsaw-like figure taunting the police and announcing his next victims.
As a feature film debut for Praveen K, the direction is a mixed bag. Praveen K is highly effective in staging the high-tension sequences in the latter half, particularly the “how” of the murders and the climactic finale, which successfully traps the cop within the killer’s story. The initial 15 minutes, featuring the antagonist’s shocking entry and exit, are perfectly staged and set a powerful tone.
The director struggles to fully integrate the killer’s eccentric “social cause” motive into the procedural thriller, leaving the film feeling slightly disjointed between its sharp style and its philosophical intent.
Vishnu Vishal is no stranger to the investigative thriller genre and carries the film well. He convincingly portrays the intense, workaholic cop who is constantly one step behind the killer, balancing the professional urgency with his character’s internal emotional conflict.
Selvaraghavan as Azhagar is highly impactful and menacing in his brief but crucial initial appearance as the serial killer. The character’s presence looms large over the entire movie through his recorded messages, marking the role as a major highlight, even after his onscreen exit.
Shraddha Srinath is effective as the TV host embroiled in the criminal plot. Maanasa Choudhary and the rest of the ensemble provide solid support to the central cat-and-mouse game, though their characters primarily serve to forward the main investigation.
The film is technically polished, enhancing the dark, gritty tone of the thriller genre.
Ghibran’s background score is a significant asset, successfully building a haunting tone and high-tension atmosphere that is essential for an edge-of-the-seat experience.
Harish Kannan’s cinematography gives the film a sleek, gritty visual texture, particularly in the long night sequences and action choreography, which visually grounds the intense police procedural. Rest of the technical aspects of the film compliments the movie well.