Singam Puli Movie Review

Singam Puli is a Complete Masala Film, Jiiva Acted in Double role by First Time, The Film has a casual Start, In Middle Class Family Ponvannan And Kuyili are parents for Actor Jiiva, Jiiva named as Shiva in this Movie, Jiiva works in a Fish Market who is a Lawyer.
Divya spandana ( Her name is Shweta in this film), And Jiiva Fall in love, they have been doing by long time, Ashok's Life is one long, Lustful Journey as he charms every woman he meets into his bed. Jiiva's Parents are not happy with him, They misunderstood his every attempts.

Ashok, on the other hand, is pally with the local goons and uses his brains to assist them in their nefarious activities. Matters come to a head when Ashok lures a girl with false pretences, with disastrous consequences.


this is Like Cat-and-mouse game, In this film Jiiva is in Double role, so he distinguish himself in body language and Speach, Santhanam named as Bujji Babu in this film,

First half is going with thrill and speed, second half is in lag, most of the scenes are Disjointed, venky's Editing work are good in this film,

Climax of this film are exciting to watch

YUDHAM SEI MOVIE REVIEW

Starring: Cheran, Dipa Shah
Direction: Mysskin
Music: Krishna Kumar @ K
Production: Kalpathi S Agoram

When there is a confluence of creative energies from the likes of Mysskin, Cheran and Ameer, the expectations are bound to soar up to stratospheric levels especially with Mysskin who is fresh from basking in the glory of his recent Nandalala. In this AGS production venture, Mysskin has chosen the crime and detection genre with Cheran as the protagonist steering the cast.

          Yudham Sei
J K (Cheran) is the honest CB-CID officer who is distressed when his sister Charu goes missing suddenly. When he is about to resign his job on her search, his superior hands him a sensational and a high profile assignment that requires untangling a case wherein severed and neatly packed body parts are continuously found in strategic places in the city. This trail takes Cheran to various people and places, and the link to his sister, culminating in many unprecedented twists and turns on the way.

What works for Yudham Sei is its linear narration and effective screen play. There are no unwanted elements in the form of comedy tracks or romantic angles. Mysskin has veered clear off the expected syntax of Tamil films of such genre. He has handled this subject with a few forensic aspects thrown in. The larger part of the film keeps the audience guessing and in suspense. He has also managed to tell his story with little known artists which requires appreciation.

In the performance department, brevity seems to be the key word with Cheran who scores by delivering a subtle portrayal. Jayaprakash gives him good support, although appearing for a short while. Y Gee Mahendra, a tonsured Lakshmi Ramakrishna, Dipa Shah, Selva and Naren form part of the supporting cast and provide the necessary foil.

Under newcomer Kay’s music, Kannitheevu Penna alone finds its place in the film where the much talked about ‘Yellow sari’ clad Neetu Chandra cavorts with Ameer and ‘blink and you miss’ Charu Niveditha. Mysskin tries to duck the complaint of this particular cliché of his by placing a relevant incident at the end of the ditty. Kay’s RR is sometimes perfect, delivering the right kind of mood for the film whereas in a few sequences it stands out obtrusively. Sathyan’s prying camera peeps, thrills, and gives the needed feel.

A genre such as this should have a frenzied pace to keep the viewer on the edge of the seat but Mysskin misses the bus here with a languorous mode of unfolding events. This could work for an emotional drama but a certain amount of pace which is required for thrillers is a casualty in YS. Besides that, the climax scene is the antithesis of all the tone and mood that was set in the entire film with characters behaving in a dramatic and non-Mysskinish manner.

Verdict: A slow paced well made thriller.

Kaavalan Movie Review

Release Date: 15 Jan 2011

Genre: Comedy - Romance

Language: Tamil

Certification: U

KAAVALAN CREW

---

Director:   Siddique

Producer:   Romesh Babu

Music Director:   Vidyasagar

Lyricst: Pa. Vijay,  Yugabharathi,  Kabilan,  Viveka

Singers  

Tippu

Swetha Mohan

Karthik

Suchitra

Benny Dayal

Megha

KK

Rita

 

 

KAAVALAN REVIEW

---

Vijay's Kaavalan, directed by Siddique is an entertaining one. The movie had a good start and hopes a good move. It is the remake of malayalam bodyguard but the director has changed some parts of screenplay according to tamil audiences taste & especially for Vijay fans. Director has worked out well to balance the movie for both Mass & Class Audiences. This is the 2nd movie from Vijay-Siddique's combination & 3rd one from Vijay-Asin and is a good one with a humorous background.

Vijay(Bhoominathan) is very much fond of goondas right from his childhood. He loved to take risks and to be brave always. He starts learning to become a brave goonda by becoming a bodyguard for famous anti socials. Sometime later, he decides to become the bodyguard of a wealthy and powerful man Rajkiran. He achieves his luck after saving Rajkiran from a danger. Vijay thus becomes the bodyguard of Rajkiran's only daughter Asin. Vijay follows Asin to her college as her Bodyguard. Asin and her friend Mithra Kurien gets irritated with him following them all day.

The two girls started making fake calls to Vijay's number, trying to get rid off him. Asin is the girl who calls him telling she is very much in love with him and all those stuffs. At first things goes smooth but later on it gets into serious issues. What happens next deals with the climax.

Vijay, Asin and Vadivelu have done their roles quite well. Vadivelu who stays with bodyguard vijay as a servant will makes us to laugh through out the film. As usual vijay's rocking dance performance continues in kaavalan too. Step up, Sada sada & Vinnai kappan are rocking with vijay's screen presence. Pattampochi song is type of a yesteryear's melody. Vidayasagar has scored good music for the film and also visuals by Ekambaram is excellent.

After years vijay has comes out of his masala formula,  kaavalan is a family entertainer. The climax lights to one in Kuch kuch Hota Hai. Kaavalan is not an extra ordinary one but is worth watchable.

 

AADUKALAM MOVIE REVIEW

Starring: Dhanush, Tapasee Pannu, Kishore, Karunas, Daniel Balaji

Direction: Vetrimaaran
Music: GV Prakash Kumar
Production: Kathiresan

The Polladhavan combination of director Vetrimaaran, music director G V Prakash and cinematographer Velraj with Dhanush and Kishore is back once again in one of the first releases of 2011. In Aadukalam, Vetrimaaran takes to Madurai backdrop and rooster fights to tell his story in a distinct manner which makes his enterprise stand out tall and high from the rest of the crop.
         

Resorting to rural milieu is not something uncommon in Tamil cinema but the director has justified the usage of his premise ably. Having said that, he has employed myriad human emotions like unquestionable trust and the breach of it, loyalty, pain, anguish, manipulation and remorse to convey his tale.

Rearing roosters, maintaining them and using them for fights are a way of life and a matter of honor and lifeline to many people. In such a tenement, Pettaikaarar (Jayabalan) leads a very respectable life with his key aides Durai (Kishore) and Karuppu (Dhanush) along with others. His main adversary in hen fights is Rathinam, the police inspector. Pettaikaarar is known to have an impeccable track record of successes when it comes to fowl fights especially with Rathinam’s.

In an unexpected situation, Pettaikaarar challenges Rathinam to a fowl contest which witnesses Karuppu violating his mentor Pettaikaarar’s word but emerging successfully with enviable proceeds. This results in the swelling of his status among his folks which plants the seeds of animosity in the minds of Pettaikaarar. Rest of Aadukalam travels on an unexpected path with twists and turns highlighting on the way the multiple layers of human emotions with sense playing truant.

The major plus point of Aadukalam is its strength in characterization. Nowhere in the film will you find the characters oscillating. Vetrimaaran proves that he is after all an adept raconteur with an eye for details. Every scene substantiates his efforts. The amount of detailing especially pertaining to the roosters needs plaudits which incidentally justifies the long period in making.

It will be an understatement to say Dhanush steals the show as the actor has lived the role of Karuppu. What a multitude of expressions in a single twitch of muscle or in a raised eyebrow? It is a visual treat to watch this talented lad perform be it the love that he feels towards Tapasee or the rambunctious jive he breaks into when she declares her love for him or the pain he feels when Jayabalan treats him badly or his regret when he loses his mom or the anguish on discovering betrayal. Dhanush is a revelation and makes you wonder if anyone else could have done justice to this role.

Jayabalan, the Tamil poet as the Pettaikaarar delivers an effective portrayal. With the right kind of expressions and body language, he demonstrates a new type of villainy and Radha Ravi’s voice adds strength to his role. Tapasee Pannu as the Anglo Indian girl Irene is adequate and portrays her role in a respect worthy fashion. Kishore as Durai with Samudirakkani’s voice is valuable. Besides these, there are many small characters that make their mark like the Pettaikaarar’s young wife, Karuppu’s friend and so on.

G V Prakash’s music elevates Aadukalam and intensifies the effect over the audience. Songs are rightly placed and none of them are contrived. While Otha sollaale makes the audience boogie, Ayyayo and Yathe Yathe’s melody enthrals them. His BGM during the pre-interval rooster fight slowly reaching the crescendo adds up to the suspense quotient and the spiralling frenzy. The action sequence especially in the climax is realistic and credible. Velraj’s camera travels to nook and corner of Madurai areas and sucks in the audience to the film.

On the flipside, the film is a tad lengthy in the first half and there are patches of slowness but they are few and far between. It is evident that the director has resorted to graphics for rooster fights to abide by the rules of animal welfare board.

In all, Aadukalam is an attempt that requires appreciation where the director has hackled his way through the path less trodden with aplomb. Aadukalam reiterates that Vetrimaaran belongs to the league of film makers who has understood the semiotics of film making perfectly.

Verdict: A winning rooster!

SIRUTHAI MOVIE REVIEW

Starring: Karthi, Tamannah, Santhanam
Direction: Siva
Music: Vidyasagar
Production: KE Gnanavel Raja

Karthi is the latest to jump the bandwagon of Telugu remakes. Dhanush has done it with fair success and Jeyam Ravi thrives on it. But could Karthi pull it off with Siruthai, which is the remake of the four-year old Telugu hit Vikramarkudu?

Rocket Raja (Karthi) is a pickpocket whose ally is Kaatupoochi (Santhanam). Together they perform con tricks on seemingly innocent people and when they stumble upon Swetha (Tamannah), it’s
          Siruthai
immediately love at first sight for Karthi. Despite his dubious credentials, he perjures himself as being a software engineer to win the rich Tamannah’s love. His life is further complicated when one of his thieving expeditions make him bring home a child. The girl child identifies him as her father and there begins a string of events; Karthi is being mysteriously chased by blood thirsty, burly goons after the child’s arrival. Tamannah breaks up with him after the child’s entry thinking he lied to her about the child.

As one can see, the movie has enough potential to be presented as a no-holds-barred entertainer. Instead, the director borrows the Telugu version’s garishness and manages only to translate (sometimes even transliterate) the dialogues and comes up with a banal stereotype of a movie. To muffle the questions that would arise out of the language that is being used, the director inserts a disclaimer at the opening of the movie stating that it’s for the benefit of the viewers that every character speaks Tamil although most of the proceedings happen in Andhra Pradesh. But he conveniently forgets the other questions that would arise out of unreasonable sequences that fill the movie. Those might never be answered.

Karthi’s smile is his asset but in a movie that has little scope for such endearments, his qualities are of little help. There is one scene that pronounces his versatility. He gets annoyed and smashes the little girl’s walkman without knowing how precious that is for her. And he melts down immediately after revelation, embracing the child and cocooning her with his fatherly love. The last scenes, in which the character Rocket Raja dons the cop uniform, are also a riot. The actor pulling off two diverse roles with consummate ease is the saving grace of the movie.

Since the originality of the Telugu version is retained, when released in Andhra this movie might serve as Karthi’s launch pad in Tollywood.

In the little time he’s allowed to be on screen, Santhanam manages to break the movie hall into laughter with his wisecracks. Karthi and Santhanam complement each other as well. Tamannah is just another pretty face in the movie and has absolutely nothing to do other than look pretty and dance gracefully. She also seems to be willing enough to flaunt her navel area, much to the delight of Karthi and her fans. Which brings us to the songs; all of them seem to follow the same beat and are equally humdrum.

The movie is also riddled with crude dialogues; it would still have been tolerable if they were used only for comedy, but in the name of villainy the movie throws in some cringe-worthy dialogues and scenes that are sure to make the women in your family squirm in their seats.

Ganesh’s stunts are old-schoolish. Sample this: Karthi leaps out of a 10 storeyed under-construction building and lands in his two (feet). And we said it’s only a sample. Despite this, Velraj’s cinematography manages to tone down the movie’s violence with its subtlety (a quality that is otherwise non-existent in the movie).

Watch Siruthai if you are a hardcore mass masala fan. Chances are that you might like Karthi, who is trying his best to prevent the movie from its impending dive into the depths of hackneyed void.

Verdict: Another mass masala remake!

MANMADHAN AMBU MOVIE REVIEW

Starring: Kamal Haasan, Madhavan, Trisha, Sangeetha
Direction: K.S. Ravikumar
Music: Devi Sri Prasad
Production: Udhayanidhi Stalin

The much awaited film with a tried and tested combination of K S Ravikumar and Kamal Haasan finally hits at the end of the year with an ensemble cast that includes Madhavan, Trisha, Sangeetha among others. Kamal takes charge of story, screenplay and dialogues while K S Ravikumar steers the directorial department in Manmadhan
Manmadhan Ambu
Ambu produced under the Red Giant banner of Udayanidhi Stalin.

Adhering to the title in its literal sense, love and cupid form the peripheral element while faith and honesty are the core constituents which have been dealt in a light manner.

Ambujakshi (Trisha) is an actress whose fiancé is industrialist Madana Gopal (Madhavan). Trisha’s profession comes in the way of her impending marriage to Maddy and after a rift between the two, she takes a break from her career on a European cruise with her friend Deepa (Sangeetha) who is a divorcee with 2 kids.

On the other hand, Maddy sends Mannar (Kamal), an ex-army man to spy Trisha’s movements. Kamal takes on this job to meet the medical expenses of his friend (Ramesh Aravind), a cancer patient. What happens in this cruise, whether Trisha and Maddy resolve their differences of opinion and what happens to Kamal is what Manmadhan Ambu all about.

K S Ravikumar who understands the semiotics of film making has attempted to narrate the story in his style but its languorous pace works against it. Although the story is interesting, the film unfolds very slowly and does not gather momentum at any stage. The script sparkles in patches and fails to engage the audience completely. Dialogues are enjoyable in some places like the scene where Sangeetha says – matrimony may not be good but alimony is. The way in which Kamal narrates his past in a reverse mode is intelligent.

There are no words to talk about Kamal who has completed half a ton years of diligence in the world of greasepaint and glory. He wafts through the proceedings seamlessly. Sangeetha overshadows all the other artists in her natural and spontaneous performance. Trisha for the first time in her career speaks for herself and it is a revelation and certainly adds greater strength to her character. Hope she continues this exercise in the future too.

Madhavan teams up with Kamal after Anbe Sivam and is his ‘spirited’ self mostly. His debonair and suave looks in the initial scene accompanied by the right kind of body language for a rich industrialist fits the proceedings aptly. Suriya in a small cameo as Trisha’s co-star in her film is adorable. In their small roles Oorvasi and Ramesh Aravind bring out the agony of illness. In fact, the performance of the cast compensates for the languid narration.

Under music director Devi Sri Prasad’s compositions, Oyyale stays in mind and the other numbers are just about satisfactory. Cinematographer Manushya Nandan adds value to the film. Gauthami’s stylish costumes work right for the script. Overall, Manmadhan Ambu is an entertainer but in parts.

Verdict: A passable cruise!

Aattanayagan Movie Review

Starring: Shakthi, Ramya Nambeesan, Aditya, Meera Vasudevan
Direction: Krishna Raam
Music: Srikanth Deva
Production: Lakshmi Movie Makers

Directing an out and out commercial movie is like being on the horns of a dilemma. You run the risk of being accused as sloppy for having left too many logical loopholes visible in the script –although commercial movies defy any sort of logic – yet to present the movie as entertaining as possible. However, first timer Krishna Ram
Aattanayagan
manages to pull off a not-too-bad attempt with Aatta Nayagan. The movie has a done-to-death story all right; but it is neatly executed that any of our top line heroes would have gladly taken it in their hands had it been offered to them.

On the outside, Aatta Nayagan has a jaded story of a hero who can administer gravity defying thumps on burly henchmen numbering into dozens to save his brother’s dignity. But the movie is unpretentious in its commercial intentions. So what you get is a precise mix bag of over-the-top stunts, family drama and emotional scenes, few songs, a love affair and some comedy thrown in for good measure to make it entertaining.

Sakthi, the aspiring-a-job-in-the-US graduate, and Aditya, who is supposedly running a software company in Hyderabad, are brothers. While Aditya is the archetypal elder brother who makes decent money, Sakthi often finds himself derided by his father for his unemployment. But Sakthi finds another way to keep himself occupied. He falls in love with Ramya Nambisan, who in turn is an ambitious girl whose primary responsibility is to marry her sister off.

The hurdle to his love affair being Ramya’s sister’s wedding, Sakthi pleads with Aditya to marry the sister. Reluctantly, Aditya does the same and upon reaching Hyderabad, the bride discovers that her newly wedded husband is a gangster and not an entrepreneur who owns a software Company, according to popular belief. How did Aditya get into this mess? Does Sakthi manage to save his brother? What sacrifices does he make to marry his girlfriend? Watch Aattanayagan to find out.

As you can see, the script is populated with necessary components for a potboiler. Stunts, songs and emotional sequences – Sakthi handles them all and emerges largely unscathed. He does have the flair of an entertainer and the director’s efforts to show him as a well-rounded actor are evident.

Technically, there is nothing specific that can be bragged about. The music and the re-recording are typical Srikanth Deva stuff. So is cinematography and editing which can only be classified as ‘just enough’ for a commercial entertainer.

Nothing spectacular to write home about the rest of the cast although every actor ebbs and flows with the movie carrying out their roles suitably. Nasser is at his usual best while Aditya has done a neat job of the good-man turned bad-man act. What with their brand of sparkling comedy famous during their small screen days, Santhanam and Jeeva do manage to tickle a funny bone or two over the course of the movie. The Pattampoochi song is good in Sreekanth Deva’s music while the rest are just passé.

Aatta Nayagan might not be the best time pass entertainer you will stumble upon in movies but if you want to give the quintessential masala potboiler a chance once again, performed by an up and coming actor for once as opposed to the established ones, you might like the movie.

Easan Tamil Movie Review

Film : Easan
StarCast : Samuthirakani, Vaibhav, Abhinaya, Aparna, AL Alagappan…
Director : M SasiKumar

Producer : M SasiKumar

Banner : Company Productions
Music Director : James Vasanth

Multiple personality such as actor, director, producer, distributor and exhibitor Sasikumar was came back with the combination of Subramaniapuram & Nadodigal film team in his second directed film “Easan”. Samudrakani, Vaibhav, A.L.Alagappan & Abhinaya are played leading roles in Easan movie and DevaNayagam (A.L. Azhagappan) play as a political leader and father of Chezhian (Vaibhav) in Easan Movie.

Easan film story is based on Chennai night life. It focuses on city life of Chennai and also it focuses around the behavior of girls at pubs and discotheques.
Easan Tamil Movie story begins with a pub song “Inda Iravu Daan…..” at night time. Then few drunked guys were chasing a girl & where she dies. Those drunked guys were friend of Chezhian. So he helps his friends to escape from this issue.

At unexpected situation Chezhian falls with love affair with Reshma (Aparna). Since her father Shivaraj Hegde is a wealthy business magnet, Deva Nayagam accepts for their marriage. Further things go smooth. Suddenly Chezhian will lidnapped by un-known face. So ACP Sangayya (Samuthirakkani) takes in-charge of the case & makes investigation. His findings are the rest of the Easan movie story.

There is no story in first-half. So audiences are very much eager to know what is going to happen in next scenes. “Easan” character will appear in intermission only and the suspense reveals for viewers in next-to-next scenes.
Samuthirakkani had done his police character realistic and Abinaya plays the character of a village girl who comes to the city is really awesome. Remaining artists were done their role perfectly.
James Vasanthan music is average. Cinematographer Kathir’s picturization is a big strength for the film.
The length of the flashback and the cruelty of the climax makes the audience feel. Finally, Easan tamil film is above average and can watch once.

Verdict: Above Average.

Ayyanaar Movie Review

Aadhi has gone the mass way after the thriller ‘Eeram’. In ‘Ayyanaar’, produced by P L Thenappan, directed by Rajamithran, he plays an angry young man on revenge mode.

Rajamithran has chosen a family-story laced with love, care and fun. A sibling feud with thrill as its backdrop is what the movie is all about.

As like any other mass masala, it begins in a village and ends up in city with bloodbath.

Aadhi has Santhanam giving him company and as usual the comedian comes up with rib-tickling one-liners. Meera Nandan plays Aadhi’s ladylove. Then there are host of baddies with whom Aadhi has to settle scores with.

Prabha (Aadhi) is the elder son of the family and he does nothing but spending all his time with his friends. He is chided by his father for that. Being a volleyball player comes to his rescue as he finds a part-time job as a volleyball coach in a women’s college.

His younger brother works in a television channel and Prabha is often compared to him by the family, which incurs his wrath. The siblings cross swords with each other. One day the younger brother is killed and the blame falls on Prabhu.

He is on the run and soon joins a goonda working as a henchman to an influential politician (Mahadevan). Pabha goes on a killing spree killing one after another in the gang. Finally a flashback reveals that they were the reason for his brother’s death.

Aadhi does the lead role with ease. Unlike ‘Mirugam’ and ‘Eeram’, he has more scope to perform. He is at his best in action sequences. He has a ‘kuthu’ number and a couple of duets too.

Meera Nandhan has limited scenes which she uses well. At a time when glamour is buzzword in Kollywood, Meera Nandhan is right there playing a homely girl. Santhanam is entertaining only in parts.

‘Pithamagan’ Mahadevan oozes venom in the role while Jayaprakash plays a caring father. Music by Thaman is good and ‘Paniye Paniye…’ is the pick of the album.

Rajamithran seems to have laced right commercial elements all through the film. The first half begins on a slow note and the story picks up momentum as it progresses.

Cinematography by Sethu Sriram deserves a special mention. All said, the movie has some clichéd portions and a sense of deja vu prevails at many places.

Banner: Sri Rajalakshmi Films
Cast: Aadhi, Meera Nandan
Direction: Rajamithran
Production: P L Thenappan
Music: Thaman

VIRUDHAGIRI MOVIE REVIEW

Delivering political ideologies and agendas has been Captain Vijayakanth’s motive in ‘Virudhagiri’. The actor unflaggingly focuses upon the recent issues like Indian student’s attack in Australia and brutalities against transgenders, which haven’t been sensationalized in any films before.

Most of the socio-commercial movies would have
Virudhagiri
the protagonists combating against bad politicians for society’s well being. On the contrary, ‘Virudhagiri’ proves to be different by touching upon some of the important issues. Vijayakanth delivers with his directorial touch for adding some essential ingredients in narration. The film is based on Liam Neeson starrer Hollywood movie ‘Taken’, an emotional thriller indeed. However, Captain’s idea linking the Australian attack on Indian students with this plot makes it interesting.

Virudhagiri (Vijayakanth), a sincere police officer endeavors in safeguarding the societal peace. Gaining international recognition for accomplishing a security task in foreign countries, he returns to Chennai handling a serious case of transgenders being scourged to death for organ racketing. On an unexpected turn, his niece (Madhuri Idaki) undertakes a trip to Australia, where she gets kidnapped by a group of strangers. Using his high-skilled intelligence activities, Virudhagiri flies down to the foreign land for the rescue.

Vijayakanth outlines whole lot of hard-hitting problems through dialogues that often wins applause from his audience, which includes the present film industry related issues of piracies... One such example is when Mansoor Ali Khan says “Avanga vaarisu edukuru pandanga mattum marketla varavae varadhu. Matthavan padam release aana anikke vandhududhu”. The title song ‘Makkal Oru Puram’ distinctly speaks off the actor’s expression on present-age political system. Implying the importance of Tamilians and their accomplishments in various arenas across the globe easily gains the attention of audiences.

Vijayakanth deserves special pat for not being enslaved to clichés like heroines falling in love with him and dancing duet numbers. The actor thereby strides on a clear route and avoids such unwanted ingredients, which otherwise would have been a spoiler.

But on the flipside with other characters in the film relentlessly praising the protagonist, it evokes delight only amongst his fans, while for others it may turn an ordeal. The self-aggrandizing liners penned by Vijayakanth go limitless after a certain extent, which should have been avoided. He goes irresistible over-singing self-praises to the baddies in foreigners. The screen play sometimes appears disconnected.

The picturizing of trigger-violent sequences of gruesome massacre of transgenders could have been softened as it creates aversion. Boopathy should have handled these shots in a moderate way while his creative placement of lens in few places, especially the action sequences is appreciable. Sundar C Babu’s title song ‘Yezhaigal Thozha Vaa Va’ is a pure political propaganda while ‘Makkal Oru Puram’ goes in right tunes.

The motive of Vijayakanth is very clear. He has used Virudhagiri as a communication vehicle to convey his thoughts at the same time satisfying the entertainment quotient to the audience. If you go with an unbiased notion, the film may appeal to you. For the hard core Vijaykanth fans, Virudhagiri is a treat!

Verdict: Captain’s self-promotion

Nandhalala Movie Review

Mysskin’s long awaited ‘Nandhalala’ is scheduled to hit screens on November 26 we bring you the exclusive review of this film.

First things first, ‘Nandhalala’ is an exact aper of famous Japanese movie ‘Kikujiro’ (1999) directed by Takeshi Mitano. Mysskin has however exerted his influence through the delineation of new characterizations and screenplay. The film’s synopsis has nothing special to mark on with as it’s a road adventure.

It’s an adventure drama as two protagonists meeting various characters on mission of finding their dear mothers. Bhaskar Mani (Mysskin) a half-minded man escapes from the hospital for mentally challenged patients. At a point he comes across a small boy (Ashwath Ram) waiting at bus stop. Situations bring them together as they get on the pursuit of their mothers. The young boy has his mother’s photo and the duo travels to the place of finding her first. On their journey, they encounter some interesting moments and different characters that help them reach their destination. There are certain heart-touching sequences with a physically challenged person, a sex-worker (Snigtha), roadside travelers, a small girl and many others.

As mentioned earlier, Mysskin has neatly lifted the main plot of ‘Kikujiro’ and has embellished the screenplay with his creative conceptualization. The characterizations are one of the highlighting keys of ‘Nandhalala’ as even the minor roles have much prominence to do with the script. Most of the film goes with the visual significance, which may variably disinterest the frontbenchers. Mysskin seems to have adapted K. Balachandar’s techniques of visual relevance.

Snigtha’s performance level is extraordinary, but it’s Mysskin who steals the show with his overpowering acts. He seems to have taken more efforts into playing this role well.

Ashwath Ram is sure to fetch more laurels. Rohini doesn’t get a proper scope and many may not recognize for her different looks.

There are some interesting sequences like Mysskin trying to save Snigtha from the strangers who try to harm her. The ultimate twist in tale goes with the true colors of young boy’s mother revealed during the climax. Though this meaning is unclear during the post-intermission sequence, it is much depicted without any dialogues during climax portion. Mysskin should have ended the film with the same shot as the prolonged sequences are too amateurish.

The handicapped character’s portions are gripping and it’s one of the best sequences. Mysskin doesn’t directly point towards the concept of ‘Love’ between the characters, but conveys them through their natures. A Love portrayed in different way.

Mahesh Muthusamy can be regarded as one of the heroes as his cinematography has more significance. His ability to place shots at unique angles is the major plus. Well for the ordinary audiences, such creative abilities may not be accredited. Ilayaraja’s musical score is biggest assets of the film. Though the background score is quite bleaker in few portions, he enhances the emotions through his music during last 30minutes.

On the whole, ‘Nandhalala’ has more chances of performing well at box office if promoted well. With so many big tickets awaited in the forthcoming Fridays, the results can be predicted only after opening weekend. The film should have a good reception amongst ‘B’ centres.

What works: Performance by Mysskin, Ashwath, cinematography, Ilayaraja, first half…

What doesn’t work: Overdosed visual significance, prolonging shots, and sluggish moments in second half, dragging climax

Verdict: Mysskin’s yet another trademark
Banner: Ayngaran International
Production: Karunakaran, Arun Pandian
Direction: Mysskin
Star-casts: Mysskin, Snigdha Akolkar, Ashwath Ram
Music: Ilayaraja
Cinematography: Mahesh Muthusamy

Magizhchi Movie Review

Starring: Gowthaman, Seeman, Prakash Raj, Anjali, Karthika
Direction: V Gowthaman
Music: Vidyasagar
Production: D Manivannan

Adapting novels into movies has been quite a frequent (not as much as we would like) practice in the film industry. But, the most common complaint that we come across with all such efforts is that the soul of the book was ultimately lost while translating it onto screen. But, Magizhchi is one effort that cannot be accused of
Magizhchi
tampering with the original feel of the book that it has adapted. A screen version of acclaimed author Neelapathmanabhan’s Thalaimuraikal, Magizhchi is set in the rural folds of Tamil Nadu and tells the story of a family, focusing primarily on the brother-sister relationship while also spreading the attention of the viewer onto a variety of socio-economic issues of villages.

Two siblings; the sister being the elder, share an almost ideal relationship. Each other’s happiness means the world to the other and it is shown in many instances in the film that either of them would go to any lengths to keep the other happy. They grow up and soon the sister is wedded off with great hopes of having a good and happy life. But, what happens is quite on the contrary. She is subject to intense domestic drudgery; both physical and mental torture. At first we don’t understand the reason behind her husband’s behavior towards her; is it sheer male chauvinism or is there a more serious rift between them. That is what her brother tries to find out. Not much to our surprise; he finds out that his brother-in-law is being cruel and unreasonable towards his sister and there is something that he wants to be hidden from the society on the whole. But, the brother is not ready to sit around and watch his sister getting tortured and decides to put an end to this marriage which is causing only grief to everyone. But, his brother-n-law is not ready to give in all that easily and the ugly caste issue threatens to raise its head when a solution to all this seems in sight.

The first thing that we notice about Magizhchi is the simplicity and natural charm that it possesses. There has been absolutely no attempt to try and infuse anything artificial or extraneous into the script with the excuse of making it more ‘cinema friendly’. It is an honest adaptation of the book. It is definitely a throwback to the 80s kind of family drama with overbearing husbands and brother-sister sentiment all playing a part. But, if willing with an open mind; contemporary appeal can be found in this movie. It shows that male dominance and domestic violence are still a part of the social fabric; especially in rural India. The movie also highlights the economic backwardness of the villages; especially in portions where the bride’s father has to sell the land that he has tilled for years to get his daughter married. His grief and helplessness have been well portrayed. Also the fact that caste is still a major issue in the minds of the rural population is depicted in the movie; especially during the final portions. One of the portions of the movie that attracts most due to its novel and extremely simple narrative styles is the one where the grandmother is narrating an old fable to her grandchildren. The story is shown to us on screen in the form of sketches (by Trotsky Marudhu) with the grandmother’s (Sukumari) voice in the background; it is quite interesting to watch.

The director has managed to extract good performances out of almost everybody in the cast. The experienced hands like Prakash Raj and Sukumari walk through their roles with consummate ease and expertise. The actress who really impresses with her performance is Anjali; as the girl who loves the younger brother. She is almost perfect as the young , a bit mischievous, village girl. Karthika, as the elder sister, is also very good, especially in portions where she gets tortured by her husband. Seeman delivers a dignified and typically sober performance while Sampath Raj makes an impact as the man who is trying to assert himself on his wife, but is in fact afraid deep inside that a truth about him might surface if he gives her too much freedom. The director Gauthaman, after focusing on everyone, seems to have overlooked himself just a little bit. One gets the feeling that he could have given himself a bit more attention.

Technically, Magizhchi is not a movie that demands much. But, the locations, bordering on Theni are a treat to watch and have been captured well on camera. Music by Vidhyasagar reiterates the fact that he is rightfully called melody king.

Magizhchi is a well made film about family relationships and social issues. However, it has its innate limitations in terms of being an entertainer. To the team’s credit, the movie has never aspired to be an entertainer that is out of the scope, the story permits. If you are the sentimental type whose idea of a village based film is not just ‘sickles and sevals’, then Magizhchi will make you happy.

Verdict: Faithful adaptation of a good literary work

Nagaram Movie Review

Starring: Sundar C, Vadivelu, Anuya
Direction: Sundar C
Music: Thaman
Production: Kushboo Sundar

Sundar C must have missed direction during his hiatus that he put to use to carve a niche for himself in masala movies as a lead man. What with the gap (in direction), Sundar also seems to have drifted away from his comedy-action entertainer franchisee to get experimental with Nagaram.
Nagaram

As a result, Nagaram is a gritty tale of a man whose frightful past as a henchman wrecks his intention to lead a normal life inordinately. It’s also a tale of betrayal in friendship, greedy and corrupt cops, how ugly rivalry in illegal business could get and how ghosts from the past are capable of wreaking havoc in a man’s life despite his willingness to lead a normal life.

The movie opens with Sundar C being stabbed in the Chennai Central Station whilst trying to flee from the city with his fiancée Anuya and their baby. It opens up in flashes as Sundar, the protagonist, recounts his experiences in the city and what pushes him to take the decision to quit trying to lead a normal life and run away from it.

Sundar C and Bose Venkat are best friends. Like good old best friends in Tamil movies, one ends up in jail as a petty criminal while the other lands up in a cop-job. Turns out the petty criminal (Sundar) has the heart of gold and the cop (Bose) is crooked as hell. In effect, after Sundar’s release from the prison, Bose, the cop, uses him for his heinous and unlawful activities including drug trafficking. Sundar loves his friend and is naïve enough to fulfill those deeds for the sake of friendship, mainly because he thinks his friend would not bring him any harm.

But soon enough, all is not well in the drug trafficking business. One of the business dealings go awry and Bose crosses paths with another dreadful criminal and makes do with his crores-worth narcotics. He doesn’t have the nerve to part with the booty that is worth crores of rupees and tricks Sundar C into believing that what he did was right. Things take an ugly turn with another cop double crossing Bose and making Sundar realize that he was being used. The betrayed Sundar is dejected and decides to leave the city with his girlfriend but the ghost of his past follows him.

Characteristically, Sundar is unpretentious in his intentions. While choosing a story of a wronged man wanting to lead a normal life, he hasn’t compromised on the commercial aspects of the movie. No matter how serious the narrative gets, there is Vadivelu with his howler antics to lighten up the proceedings with his often lewd dialogues delivering it with funny intonations. Of course his fans are going to love it. After all, it’s been a while since Vadivelu has had a field day and this might just be one.

That apart, Sundar, Bose Venkat and the other characters of the movie form layers of the narrative blending with its flow. Other than their neat performances, the takeaway is the unassuming and pretty Anuya who seems to have decided to shed a few layers of her costume for the benefit of her career (or her fans as the case may be). Taman’s music reminds us of the prodigy he is, in a couple of songs (one of which has Anuya soaked wet in rain).

Sundar has managed to pack a punch with the narrative style of the movie and the climax tugs at your heart. Besides, he has also diversified from his style of movie making to take up a serious subject of friendship and betrayal. On the whole, but for a few glitches here and there, Nagaram is not bad a watch.

Verdict: This city is gritty!

Sindhu Samaveli Movie Review

Director Samy is man who made a name for himself touching controversial themes and talking about forbidden relationships. Be it ‘Uyir’ or ‘Mirugam’, Samy was right there evoking mixed response from film-buffs for the content.

Typical to his style is ‘Sindhu Samaveli’. This film too is set in a sensitive theme - that of a girl caught between her husband and her father-in-law. Thankfully the director has not made the script crude and chose to play it down.
A 'fearing' theme it is, but Samy seems to have made it look commercial with catchy cinematography, host of songs and some comedy. The fact that it features all newcomers manages to sustain some interest. Sundar C Babu’s music and camera by Utpal comes to his rescue.
Anbu (Harish) is student in a village school. His mother is a teacher and father Veerasami (Ghajini) works in the army and is posted in Assam. It’s romance for him as he falls in love with Sundari (Anakha), who is elder to him but studies in the same class.
Situation forces his father to return to village after he opts for voluntary retirement, injured in a terrorist attack. His sorrow is doubled when his wife dies of snake bite. Anbu now takes up the task of fulfilling his mom's dream to become a teacher.
He with the permission of his family marries Sundari and lives happily with her for a month before leaving the village for teacher training. Alone at home, Sundari takes care of her father-in-law. But she is forced to enter into a ‘relationship’ with Veerasami. What happens when Anbu comes to know of it forms the crux.
Both Harish and Ghajini do their part well. The complex emotions have been brought out well onscreen by them. But walking away with applause is Anakha. She is right there delivering her best.
The movie principally revolves around three characters and few scenes are exaggerated, testing our patience. The eyesore is also the filmmaker overplaying the relationship at places. In parts, Samy delivers a better job.

Bale Pandiya Movie Review

Star-casts: Siddarth, Piaa Bajpai, Vivek, Jaya Prakash, John Vijay, Pradeep Rawat, Shamsundar Arsani and others
Music: Devan Ekambaram

Higher hypes and publicities made good waves of expectations prior to release. Designer Siddarth’s debut directorial ‘Bale Pandiya’ boasts of a blend of new thread of storyline set backdrops of usual plot of goodie-baddie conflict.
Siddarth’s treatment of script is quite enjoyable as he brings the film with right mix of action and comedy.
The story of Bale Pandiya goes this way….
Pandiya (Vishnu) finds the best contract killer AKP (Amar) and pleads to assassinate him. First shocked with a crazy approach, AKP and his henchmen ask him to pull out reasons for his drastic decisions. Thus starts his flashback of unlucky misadventures from his birth, which even makes these contract killers quite dumbfounded. On the other end, AKP is on his mission of kidnapping Vaishnavi (Piaa), which turns to be a failure as unlucky Pandiya is besides them. Soon after a point, AKP assures Pandiya about fulfilling his needs and assigns him as a human bomber at the venue of All India Police Conference. Indeed, he offers him a debit card with value of Rs.25Lakhs with the expiry date on 10th of next month (Day to end his life).
Pandiya starts enjoying his life as he carelessly swipes his card letting his family cross its hurdles and then comes across Vaishnavi. They fall in love and Pandiya feels like paradise coming down on Earth, but it’s already Date 10.
Filled with hopes of canceling the assignment, Pandiya takes Vaishnavi to the house of AKP unaware that he and his henchmen are mysteriously killed.
The first half (80mins) keeps going with jolliness as it just carries the establishment of characters. The title song ‘Bale Pandiya’ itself reveals of the protagonist’s character. Certain sequences like ‘Traffic Signal’, ‘First Love Failure’, and Vivek’s arrival at airport are enjoyable. Piaa Bajpai takes on a good screen presence and her costuming is done well. Vishnu has improvised a lot from his previous and his stunts are really appreciable. But, he could yet more spend more efforts on emoting to best. Amar as AKP picks your interest and flashback involving his help for Vishnu is sure to astonish the audiences. Gibran’s look is quite ludicrous and looks like comedy-villain in Old Tamil films. Vivek’s satirical liners like Rs. 1 for Rice and Rs.2 for using Public Toilet wins him applause and not to miss Englishmen introduced Mobile Phone and Tamilians introduced Missed Call.
Post-intermission, there are some lagging sequences as the story turns to be an usual conflict between two politicians and hero’s run of saving his girl from the clutches of baddies. John Vijay is average and Jayaprakash as grey-shaded politician is good.
Cell phone sequence in ambulance and tracing it faintly reminiscences of Rajnikanth’s blindfolded act in ‘Priya’. The stunt sequence during second half has been choreographed neatly. The film could have been well narrated even with a duration of 2hrs (trimming 10 mins each hour of original duration 140mins).
Devan Ekambaram’s musical score is extraordinary and the songs have been pictured well. Especially the song ‘Sirikiren’ and Kangale Kamalayam’ are visual treats.
‘Bale Pandiya’ offers a decent entertainment for its viewers. Stressed out of heavy work, looking better way to chill, walk in with popcorns, sit back and relax.
What works: Screenplay, entertaining factors, comedy, Music, Camera
What doesn’t work: Few logics missing, lengthy duration but bearable, emotionless romance
Verdict: Watch it once

Neeyum Naanum - Movie Review

Cast: Sanjeev, Sethna, Sampath, Manobala, Singamuthu
Direction: Solairaja
Music: K Sathya
Director Solairaja, who made many a popular serial on small screen, has tested waters in the tinsel town with a film that speaks about the egos, friendship and camaraderie among children.
Set in the backdrop of a dance competition between students, the movie harps about the innocence of children, their agony and frustration.
Though Solairaja has tried his hand at such an interesting theme, what the movie lacks is the way the director has executed it. It sounds clichéd and predictable at many places.
Sanjeev of ‘Kulir 100 Degree’ plays the lead role while debutant Chetna is cast as his ladylove. The film boasts of star cast that includes Sampath Kumar, Master Rinson, Master Sachin, Singamuthu, Nellai Siva and Manobala among others.
The movie begins in a school campus where Surya (Sanjeev) comes to join as aerobics instructor. The school is owned by Sampath (Sampath Kumar), the chairman of a group of educational institutions, and an influential man in town.

Surya develops affinity with Diya (Chetna), a relative of Sampath who is also a dance teacher there. Meanwhile, a poor boy Karthick (Rinson) manages to get admission in the school thanks to Surya.
An intelligent boy, he incurs the wrath of Siddharth (Sachin), son of chairman of the school who studies in the same class. Karthik's mother falls sick and he needs Rs. Five lakh to do surgery for her. Comes a dance contest carrying cash award of Rs 10 lakh which Karthik wants to do. Siddharth comes in between and poses hurdles.
Eventually with Surya's help Karthik gets admitted to another school. Surya, Karthi and others take it as challenge and prepare themselves for the competition. Meanwhile Diya walks out from the house to be with Surya. It’s finals between Siddharth and Karthik and the best wins.
The movie boasts of enough dance sequences. There are some fun elements in the form of children getting ready for dance contests. Sanjeev looks cool and suave while Chetna is okay. Sampathraj as usual does his job well. All the kids have played well.
Music by Sriram Vijay is good especially the theme music. Premshankar's cinematography is breezy. All said ‘Neeyum Nanum’ is like watching a dance contest on a television channel which impresses you in parts.

Vilai Movie Review

Director Kamaraj has tried his hand at serving a strong message in ‘Vilai’, which is about innocent women being exploited and pushed to flesh trade. Thankfully the film maker doesn’t stretch for effort here showing the dark sides, but he has tried to narrate a sequence of events to convey the theme.

The movie has some familiar names like Saravanan, Udhayathara and ‘Nadodigal’ fame Barani. What begins as a docu-drama suddenly changes gears to become a routine clichéd affair. The intention of the director seems to be right, but he falters at its execution. Events unfold at quick pace and at places defy logic, taking away all sheen.

Nandhu (Barani) and his sister Vandhana (Reethu Soni) live at Melur village with their parents. They quarrel with each other. Unable to tolerate it, their father arranges for Vandhana’s wedding. Her brother however wants her to continue studies as she is a topper.

Vandhana comes with Nandhu to Chennai. She gets kidnapped by a call taxi driver and Nandhu begins his search only to come to know that she has been kidnapped by a gang running flesh trade. Now Nandhu takes the help of Assistant Commissioner of Police Shanmugavel (Saravanan), who had a bad past and had his young daughter kidnapped a few years ago.

He along with Nandhu goes on search and succeeds in finding her in the custody of a Mirchi Maya (Fathima), a dreaded woman don who runs prostitution houses in Andhra Pradesh. But there awaits a surprise for Shanmugavel. Also how Vandhana is saved is the rest.

Saravanan reminds one of Vijayakanth. He replicates the ‘Captain’ in his walk and mannerisms. Barani plays a desperate brother, while Reethu Soni as Vandhana is cute. The rest of the cast includes ‘Yogi’ Devaraj, Chandru and Amarasigamani among others.

The content was there to give a riveting film. But Kamaraj seems to have achieved only in parts. On the whole, the movie doesn’t work wonders. However the director deserves pat for taking a relevant issue and discussing it.

Banner: SB Film Productions
Cast: Bharani, Saravanan, Bhanuchandar, Gemini Balaji, Chanthru, Udhayathara, Reethu, Madhumitha, Fathima
Direction: G. Kamaraj
Music: D.Imman

Naan Mahan Alla Movie Review

Banner: Studio Green
Cast: Karthi, Kajal Agarwal
Direction: Suseendran
Production: K E Gnanavel Raja
Music: Yuvan Shankar Raja

Expectations were literally bigger than before as Susindran and Karthi joined hands together. These personalities share a common history of success in film industry and together they have outmatched their previous films now. ‘Naan Mahaan Alla’ top notches on every arenas as it holds a powerful theme and technicians glistering at their best. The film creates a lump in your throats with its serious subject and you’ll walk out of theatres with an intense emotion.

What starts as a passable entertainer turns into a gripping crime-thriller during second half. Hats off to entire team as they deserve praises for their earnest efforts and brilliancies.

The film focalizes on the increasing crimes in Chennai and how it disturbs the lives of innocuous people leading a peaceful life.

Jeeva (Karthi) has a picture perfect life with caring parents (Jayaprakash, ‘Eeram’ fame Lakshmi), affectionate sister (Priya of ‘Singam’ fame) and supportive friends. His life is filled with absolute happiness when Priya (Kajal Agarwal) comes across his life. Marked by abrupt transitions, Jeeva’s life undergoes a wild change as the dark-crude side of Chennai has other plans for him. The emotions and perplexities are now on hi s playing cards. Jeeva is now forced to handle the situations, in a way he never expected. On the pragmatic contexts, the film touches the increasing crime rates in Metropolitan City of Chennai.

Karthi showcases ne plus ultra performance and gets under the skin of his characterization. It’s a relief for those, who felt his role was incisively exaggerated in ‘Paiyya’. What is sure to surprise you is the fact that it doesn’t boast of any stunts till the climax. For the first 100minutes, the film strides with spanking narration of fun, frolic and romance. However, Susindran makes sure that audiences are provided with a clue right on the prologue about what this film is all about. The point of conjunction by involving Karthi’s character has been well designed by the filmmaker.

The most highlighting attribute of this film is the crisp and crystal-clear narration. Susindran makes sure the audiences are not dragged back and forth with fluctuating tempos. The 130mins of drama keeps you adhered to screens.

Karthi excels with his charismatic appeal and deserves special mention for his stunning performance in action sequences. Even his hilarious mannerisms during first half are enjoyable. Kajal Agarwal looks bubbly, cherubic and shares a great chemistry with Karthi. Jayaprakash continues striking gold at his performance level while Lakshmi deserves same praises for her acting. 4 youngsters (one of them looks identical as younger boy, who played Suriya’s role in ‘Nandha’) are excellent on their part.

Technically, Yuvan Shankar Raja’s musical score is the biggest asset as his Midas touch on background score enhances the visuals canned by Mathi. The cinematographer has completely changed his pattern from ‘Paiyya’ and emblazons the screens with different touch. Kasi Viswanathan’s editing is sleek and neat.

Stunts choreographed by Anal Arasu are far beyond excellence. The action sequences moves you to the edge of seats. It’s nice and realistic to see the baddies being more dominant than an ordinary guy in these stunts.

As on whole, ‘Naan Mahaan Alla’ isn’t just an entertaining film, but a hardcore reality that has been prevailing amongst the people in contemporaneous city of Chennai.

We wish Susindran to keep his thumbs up and producers are sure to take a cake walk. It’s yet another precious stud in Karthi’s career.

What works: Almost everything, the plot and screenplay, performances, technical panoramas

What doesn’t work: Missing a duet song ‘Oru Maalai Neram’ from Yuvan’s bank

Verdict: Just outstanding. Must watch it

Banner: Studio Green Films, Cloud Nine Productions

Production: K.E. Gnanavel Raja, Dayanidhi Azhagiri

Direction: Susindran

Actors: Karthi, Kajal Agarwal, Jaya Prakash and others

Dialogues: Bhaskar Sakthi

Music: Yuvan Shankar Raja

Camera: Mathi

Editing: Kasi Viswanathan

Lyrics: Na. Muthukumar, Yuga Bharathy, Francis

Stunt: Anal Arasu

Art: Rajeevan

Choreography: Sabeena Khan, Baba Bhaskar

Vamsam Movie Review

Starring: Arulnidhi, Sunaina, Ganja Karuppu
Direction: Pandiraj
Music: Taj Noor
Production: M K Thamizharasu

The brouhaha associated with Vamsam has been on the high for two reasons. Primarily, it is due to director Pandiraj who had earned well deserved recognition in his very first venture Pasanga and hence his audiences are eagerly looking forward to his second project. Secondarily, the scion of the first family of Tamil Nadu, M K Arulnidhi enters the world of glitterati as hero and naturally the curiosity levels are at an all time high to assess the young man. Besides these two factors, the voluble promos in the media have also spiced up the proceedings.
Vamsam

At the outset, in Vamsam, Pandiraj has attempted to record the life styles, the culture, traditions of a community called Devar in the interior Tamil Nadu. There are 11 sects belonging to this community who are well known for a particular trait; one for rendering unequivocal justice, one for revenge, one for adventure sports etc.

Kishore belongs to the tribe which excels in rekla, silambam and other such games and always comes up trumps in any activity that he is involved in. Jayaprakash on the other hand belongs to the sect which avenges any form of humiliation. Not withstanding Kishore’s triumphs, he kills him mixing poison in his liquor. Jayaprakash’s intentions are to completely erase the clan of Kishore. However Kishore’s wife, who was pregnant during the time of her husband’s death, decides to raise her offspring away from the habits of her husband which brought him his untimely end. Fortunately for her, Jayaprakash spares her son.

Arulnidhi, son of Kishore is a very timid boy, a post graduate in Botany who minds his business. Unable to manage a cow (Asin), he sells it to Sunaina’s family but Asin runs back to Arulnidhi’s house. This leads to interesting interactions between the couple which ultimately blossom into love. Asin plays the messenger of love between the couple and the reason for their frequent meetings.

Meanwhile, Sunaina’s father who belongs to the clan of giving out justices, hands out a verdict in favor of Jayaprakash’s servant who was ill treated by him. Irked by the disgrace Jayaprakash kills him. Upset by this, Sunaina throws a pail of dung over Jayaprakash’s face in open street which is the pinnacle of ignominy for a person in the community. This triggers the series of revenge episodes in a relay fashion and where it all leads and ends form the rest of Vamsam.

In the department of performances, a deglamorized Sunaina takes the cake revealing that she can deliver any type of role. Although Arulnidhi fits the role of a docile, educated boy, he has a long way to go. The sequences where the couple in love talk in botanical terms is something new to Tamil cinema in recent times and would be enjoyable for Botany students. Ganja Karuppu and Arulnidhi take care of comedy department which are enjoyable. Kishore delivers a neatly crafted performance and so is Jayaprakash.

The screen play does tend to get wobbly at times and meanders here and there making it to difficult to connect with the film. Although there are incidents of killing, they have not been depicted grotesquely. The Thiruvizha scenes stand out in their native grandeur and the camerawork by Mahesh Muthusamy is laudable. The explanation about killing during Thiruvizha times is something new.

Music director Taj Noor; an erstwhile assistant of A R Rahman, shows potential especially in the pada pada pattampoochi number. He is efficient and sure to go places with the right kind of opportunity.

Pandiraj is successful in showcasing the life of a community in its various facets which could be interesting to some. He has fused realism and cinematic elements in the right proportion and has sliced his way through the path less trodden with considerable aplomb this time also.

Verdict – Illustrious lineage!

Baana Kaathadi Movie Review

Starring: Atharva, Samantha
Direction: Badri Venkatesh
Music: Yuvan Shankar Raja
Production: Sathyajyothi films

Director Badri Venkatesh's maiden venture Baana Kaathadi was released today with some amount of expectation in the Kollywood film circle. The film has Atharva, veteran actor Murali's son, and Samantha, who was the heroine in Telugu VTV, as the lead pair. Prasanna, Karunas and Manobala are in supporting roles and music is by Yuvan Shankar Raja. So what is Baana Kaathadi all about?Baana Kaathadi


The hero is a school student living in the crowded slum of North Chennai. He falls in love with a college going Fashion Technology student while chasing kites with his friends. The hero gets caught by the police in an unexpected situation which happens to change his life forever. What happens to the hero? Does he manage to marry the girl he fell in love with? Watch Baana Kathaadi if you want to find the answer to these questions.

Atharva is a school student whose hobby is to fly kites. It just happens that one day he bumps, quite literally, into Samantha. In the ensuing events, Samantha's pen-drive finds its way into Atharva's pocket. This makes Samantha go behind Atharva for two days as she has her college project in that pen-drive. Atharva's mother manages to find it while washing clothes and he gives it back to Samantha. Thrilled by getting the pen-drive back, she decides to throw a party to Atharva and his friends. Love looms between the two. Now if you are wondering about the age disparity between the two, here is a clarification. Atharva is not a bright student at school and so he spends two or three years in every standard he studies. Good.

The hero decides to express his love and when the two meet in a beach, Atharva spills a pack of condoms, which he accidentally and unknowingly picks up from Karunas' pocket. This infuriates Samantha who decides to dump his love. Meanwhile, Atharva happens to be a witness to a murder of an ex-MLA committed by Prasanna who lives in the same area. A sudden change of events lands Atharva behind the bars. What happens to Atharva, Prasanna and Samantha is the rest of the story.

The first half of Baana Kaathadi drags itself forward with high points here and there. It makes you wonder how a fashion technology student can fall in love with a school student (though an explanation is given). Maybe you excuse the director as he is allowed to use his cinematic freedom but the expression on Samantha's face when the pack of condoms gets spilled is certainly questionable. We also wonder why Atharva does not make an attempt to hide it or give an explanation. In fact, the only scene in the movie which demands attention is when Prasanna kills the ex-MLA. The story shines in bits but falls flat in many places.

Atharva does a good job as the protagonist. He looks quite real as the school boy in the slums of North Chennai. But he does seem to have a lot more in him and has a lot of potential to make it big in Kollywood. Samantha does not have a lot of scope and has done a very ordinary job as the heroine. After her brilliant performance in Ye Maaya Chesave, it is quite natural to expect more from her. But she disappoints. Karunas and others have played their parts. Some of the comedy scenes do evoke laughter in the audience.

Director Badri Venkatesh could have handled the script a lot better. With a powerful production house and lots of talent at his disposal, he could easily have given much more powerful presentation. The screenplay does not demand attention at all and hence it is hard to hide a feeling of saturation when you are watching the movie. Even the romantic sequences between the two seem so artificial. Though the song numbers by Yuvan are fairly enjoyable it does not add strength to the otherwise ordinary movie. Same applies to the cinematography which is handled by Richard Maria Nathan. There is nothing more in the movie that is really worth mentioning.

With no other movies releasing this weekend and a dry Friday last week, this movie had all the potential to make it big. Unfortunately, poor handling of the script and actors is a major letdown in this movie. Atharva seems qualified to do better roles in the future. The movie has his moments but it is not enough to hold the movie-goer's attention for long periods of time.

Verdict – Baana Kaathadi - does not fly high.