I don't remember many movies where Murali has assumed a double role. And I'm sure that even he doesn't want to remember this one! I have always thought that double roles meant a double dose of entertainment and that it was hard to go wrong with stories which involved a double role for the hero. This theory has worked before as seen in comedies like Raajaadhi Raja or thrillers like Vaali. Even Chinna Raja, which started off boringly, improved by leaps and bounds when the second Karthik was introduced. But that theory is blown to pieces by Rathna which conclusively proves that two Muralis are worse than one!

Rathna is Rathnavelu(Murali), the older of two brothers. But he makes his appearance only halfway through the movie. The movie opens with his younger brother Muthuvelu(Murali), the loyal nephew of the village landlord(Kazhan Khan). He falls in love with Chinthamani(Sangeetha), the daughter of one of the villagers. But Mala (Maheswari), his uncle's daughter, is in love with him. Rathna makes his entrance halfway, revenge on his mind and starts killing the goons of the landlord. Turns out his father and mother were murdered by the landlord and he had run away. But Muthuvelu doesn't know all this.

If there was an award for using all the cliches in tamil cinema, this movie would win it hands down. Brothers separated at birth, parents killed by the villain, the brother thirsting for revenge, the landlord illtreating the villagers, the 'thaali' sentiment - the director employs every old trick in the book. But he could still have been forgiven if he had made all this interesting in the least bit. Unfortunately, that is not the case. There have been several movies where these familiar themes have been handled entertainingly. But there is not a single incident in this whole movie that can be classified as even mildly interesting.

The interactions between Murali and Sangeetha are routine. There is nothing new in her initial indifference towards Murali and then her gradual fondness for him after seeing his goodheartedness. But during these portions, there is always the hope that Rathna's arrival will improve the situation. But all such hopes that the introduction of Rathna will spice things up are dashed to the ground right away. There is nothing exciting or novel in his murders. His romance with Indu seems like an excuse to add another duet to the movie. It is also too abrupt and difficult to ingest.

It would've taken a really strong climax to rescue such a weak movie. But the ridiculous climax here is the perfect pinnacle to the sloppiness of the rest of the movie. Rathna's act is completely illogical and punishes an undeserving Maheswari. Just setting her up as a negative character by making her jealous of Sangeetha does nothing to make the climax right.

The comedy only serves to make matters worse. Vadivelu is a storyteller whose tales have unexpected effects on his listeners. This is tolerable the first couple of times but soon grows repetitive and boring.

The performances are routine. Murali doesn't do a lot to distinguish between the two roles. While he fits easily into the role of the soft, younger brother, the hardened role of Rathna seems beyond his grasp. His voice is rather soft and so the repeated utterance of his name whenever he is ready to kill someone invokes laughter rather than terror. Sangeetha and Maheswari are merely adequate. The paycheck must have been really hefty for Revathi to agree to such a miniscule role as Murali's mother. Kazhan Khan overacts as the landlord with his exaggerated gestures. Debutante music director Jaisurya has one good song in Idhazh Sendhooram....

Filmmakers like Manirathnam and Shankar have literally blazed a new trail in tamil cinema by avoiding all the tired, old cliches. Their movies are a breath of fresh air and watching them is a pleasure. But it is only when we see movies like Rathna that we realise how desperately we need more directors like them!