A man who flies across countries with deadly vibes that can arrest any women.... A man who heads an international flower trading company rightly named 'Eternal spring', who is often received by loads of pretty women from many cultures and colours shamelessly holding the placards and breathlessly waiting at airports to have him.... A womaniser who knows every number of the book to bring any beauty to his adoring servitude....Playing to the immortal title is Roshan Andrews 'Casanovva', one of the most stylish films ever to hit Mollywood screens.
The movie opens with the arrival of this rich and flamboyant Casanova, whose original name is never ever spelt on screen. As he comments, this name had been cast on him, which he decided to make his own by playing to its demands. 'Casanovva' with his gang of young girls who are also his employees, always following the leader in their swanky cards, is now at Dubai to attend the marriage of a millionaire's daughter.
In the other track is four young hi-tech, 'hi-flying 'robbers with acrobatic skills (Abhisekh, Shamsi, Arjun and Vikram)who had been the executors of some huge heists of high selling antiques and money, which helped them to earn huge cash. After a big heist in a monastery, the foursome are plotting plans to make some more from the rich men' attending the marriage, but the Interpol' is also in the close heels to locate them. They now pretend as the gang men of 'Casanova' and join the functions. But the brainy 'Casanova', who easily identifies them, has got other plans for the bad boys. And as he starts playing the cards to unsettle these youngsters with pranks of love, with the aid of rich Hanna (Lakshmi Rai) and Ann Mary (Roma) and a TV show named 'Fall in love' ,we are also reminded of the old scores that the playboy has got to settle with them.
The biggest highlight of the movie is the scale in which it is made, with the plush cars, number of choppers , great locales, chartered planes and beautiful ladies all contributing to the finest looks ever in Mollywood, that may match the league to visual stunners of Bollywood. Yes, this is an invitation from Mollywood that contest the big league of commercial players of India. The technical sides are top notch with Jim Ganesh contributing some finest visuals to the journey. Slick editing by Mahesh Narayanan also elevates the movie. But this cannot be told about the story lines, which indeed appear good in the initial reels. The first half pretty matches the expectations from the biggie, but in the later half while dealing with the lead man's original love with a salsa dancer named Sameera (Shriya Saran) who transforms him to a romantic than a womanizer, 'Casanovva' looks sulky and strained a bit. And since it is the first movie to appear in Mollywood with a totally distant thread and shot entirely in foreign locales, the movie does not pay heed to traditional meticulous demand of on lookers for logic, in each and every scene. Some of the dialogues penned by Sanjay-Bobby looks inviting enough as it matches the off screen image that the lead star propagates all through. The songs by three music directors just fit the bill, though the 'Alphonse track' Hey manohara theerame...' is a foot tapping material. The BG scores and theme score by Gopi sundar are also impressive.
Mohanlal is in his stylish best in the movie, though his acting capabilities are not put into test anywhere. He makes an easy walk through the role and play safe in many thrilling scenes too. Shreya Sharan and Riyas Khan has got a role to remember while Jagathy Sreekumar, Sankar, and Roma are in passable roles. The actors donning the roles of four robbers and Lakshmi Rai are in stylish attires and fill the little space that doesn't have Mohanlal on screen.
'Casanovva' is one film that may satisfy the fans of the star and those who like technically sound, slickly made films. With those entire fine chases, action and thrills, the movie is hopefully prescribed for a one time watch for all the new generation viewers. And for others, there may be criticisms for giving importance to style over substance.