Seeru reveals to us the account of Manimaran (Jiiva), who is into the digital TV business in Mayavaram. Manimaran is with everything taken into account Azhagu Raja, and a ‘perfect’ saint, and furthermore puts others’ needs before his. The film starts with two ladies making the most of their lengthy drive as they tune in to Ilaiyaraaja’s “Thendral Vandhu Theendum Bodhu”. Out of nowhere, a lot of men, who claim to be cops, get out of hand with them. Manimaran, from no place, shows up on the spot. Ask how? One of the ladies shares a voice note on WhatsApp from her extra telephone. Try not to think little of Manimaran’s capacity. He some way or another gets the message, obliterates each goon and recoveries the ladies. They express gratitude toward him, and Manimaran gives a talk about the significance of helping individuals without anticipating anything consequently. Record highlights, folks. A ‘mass’ legend says ‘mass’ things in a ‘mass’ scene. As Seeru advances, we understand Manimaran isn’t this “like podra-companion on Facebook however gives his own life” for the prosperity of his companions.
Ilakiya (Gayathri) implies the entire world to Manimaran. (peruse: Thangachi pasam, and so forth). In a urgent scene, we are demonstrated Malli (Varun) venturing into Manimaran’s home with a goal to murder him, yet he doesn’t do that. Here is the curve: We see Malli conceding Manimaran’s pregnant sister, squirming in labor torment, to the emergency clinic. Alright, another curve: Malli isn’t the real reprobate. We get acquainted with Ashok Mithran (Navdeep), a degenerate legal advisor, post-interim. How the lives of Malli, Manimaran and Ashok Mithran entwine structures the plot of Seeru.
Jiiva goes enthusiastically mode right now, is extremely long and chatty. Rathina Siva’s punch discoursed talk more than Jiiva’s genuine trick arrangements. Maybe, every time the chief said “activity” on the sets, it normally suggested, “progressively mass, saar.” The outcome? It makes for a tiring watch. Rathina Siva may have thought umpteen number of turns implies keeping the crowd snared, however sadly, Seeru centers around littler angles and passes up the master plan. Riya Suman has been cast in light of the fact that the film required a female lead. The sentiment among Vasuki and Manimaran blossoms in a men’s latrine. Goodness, likewise, when a chief recounts to a story for a “mass legend”, he needs a “message”. Seeru has that, as well. We get an arbitrary tricky backstory including a lot of school-goers avenging Ashok Mithran. It couldn’t be any more obvious, these parts are intended to be passionate and reasonable. Be that as it may, doesn’t feel genuine by any means.
A film should make a feeling of emotional strain, which Seeru needs. I sort of enjoyed Rathina Siva’s first film Rekka due to Vijay Sethupathi and Imman’s music. Be that as it may, Seeru needs center and is absolutely frustrating. Nothing very hangs out really taking shape, including Navdeep, the rival, and his voice/activities.
We get a conventional masala film treatment with unlimited ‘turns’, which doesn’t do any great to the film. In the subsequent half, Manimaran acts like a cop, and goes around with a walkie-talkie, pursuing individuals. Additionally, he gets captured by the genuine cops, as you may have guessed. Be that as it may, what/who spares Manimaran? Karma comes calling. It isn’t even “old wine in an old container” group.
It’s astonishing how with such huge numbers of characters, Seeru doesn’t make one genuinely put resources into it. The characters and scenes have the punch – concurred. In any case, where is the ‘punch’ in the composition? For what reason is it so haphazardly composed? Rathina Siva must have answers to these inquiries. Saar, in any event, from next time, attempt to make a film that can engage the crowd reasonably. A movie producer need not generally take into account the crowd part, who needs just “amusement”.