By Pakka Admin - Aug 24,2018
Echcharikkai Movie Review by Praveena | Sathyaraj, Varalaxmi, Sarjun | Echcharikkai Review
Echcharikkai Movie Synopsis: Two men kidnap the daughter of a rich man, and the latter approaches a retired cop to track the missing woman.
Echcharikkai Movie Review: One of the commendable aspects of Echcharikkai is that debutant director Sarjun acknowledges the inspiration for the film — the 2009 British thriller The Disappearance Of Alice Creed. Sarjun doesn’t adapt the film as such, but uses its premise as a jumping off point. We get the kidnapping angle from that film — two men kidnap a young woman, the daughter of a rich man, in the hope of ordering her father to pay a ransom. And one of men might have a connection to the girl! Here, David (Kishore), who is out of jail after serving a sentence for murder, and his nephew, Thomas (Vivek Rajgopal), a small-time criminal, decide to get rich by kidnapping Shweta (Varalaxmi), the daughter of real estate developer Perumal (Jayakumar). About midway into the film, we get a revelation that sets up the prospect of a double-cross later.
But Sarjun introduces a new angle to this premise. He brings in a third angle, via an investigator, Natraj (Sathyaraj), a retired cop, whom Perumal approaches to trace his daughter. And Natraj has his own problem — his daughter, Piya, has a rare medical condition and requires constant care. So, he cannot leave his home! Still, Natraj sets up a command centre at his house and starts working on the case.
Who wins in the end — the cop or the criminals or the victim?
For a debut effort, Echcharikkai comes across as quite a solid thriller. Sarjun keeps things engaging with the cat-and-mouse game between the criminals and the cop. He gives us the backstory of David and Thomas right at the beginning, which adds an emotional angle to their relationship and keeps it ambiguous. Shweta is presented as a resourceful young woman, and you are uncertain even about her motivations. The angle involving Natraj’s daughter is somewhat weak, but it doesn’t affect the narrative, at least in the first half. The actors pitch in with fine performances, too.
But it is in the second half that the film falters, somewhat. The tension somehow goes missing and scenes begin to feel longer. An unnecessary duet and a couple of scenes involving Yogi Babu (who seems to have been cast mainly because his presence might help market the film) stick out like a sore thumb. Even the poignancy of the climax doesn’t come out as well on screen as it must have been on paper.
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