Seedan Movie Review

Director Subramaniam Siva, who touched the dark shades of life in Chennai in his last ‘Yogi’, has treaded a cool and a casual path in ‘Seedan’. A remake of Malayalam entertainer ‘Nandanam’, ‘Seedan’ is a breezy venture which also tells a message or two on human relationships.

With Dhanush doing a cameo, the movie comes as a treat for those who love to watch time-pass popcorn entertainers, that too with whole family. Slow at places, there is no denying that the script is steady too.

A romantic theme never fails to appease masses. If it is blended with a family drama, the delight is double. That is what ‘Seedan’ is all about. Ananya and newcomer Krishna are lover couple and with Dhanush playing the saviour of their affair, it is fun and joy throughout.

Subramanaiam Siva deserves to be complimented for making necessary changes in the script to suit Tamil audience. He has ensured that the grip is not lost anywhere in the story.

Thanks to Dhanush making entry in the second half, the movie picks up momentum to ensure there are no big dull moments anywhere from the interval.

Mahalakshmi (Ananya) is a maid in the huge bangalow of Amirthavalli (Sheela), where she takes good care of the latter. An ardent devotee of Lord Muruga, Maha has a dream of marrying a boy of her choice.

Life takes a turn when Mano (Krishna), Amirthavalli's grandson enters the house for a vacation. Maha is surprised because he is the man who comes in her dream and falls in love with her.

A twist in the tale is Mano’s mother (Suhasini) urging him to marry her friend's daughter. When a shocked Mahalakshmi offers prayers to Lord Muruga, from nowhere enters Saravanan (Dhanush), a new cook in the house. From there on, Mahalakshmi comes across enough pleasant surprises and all things thanks to Saravanan end well.

Three cheers to Ananya who has played her part well. She is at ease in romantic sequences and equally good in emotional scenes. Krishna doesn't seem to be a novice. He plays his part well considering this to be his maiden attempt.

Vivek as fake Godman brings the roof down with laughter. His one-liners are witty and catchy. Refreshing to see the comedian striking it rich after a gap.

And the real scene-stealer is Dhanush. The man, who is on a good run in Kollywood, seems to have carried the burden in his shoulders with immaculate ease and delivered one of his best. As a cook who is witty and humouous, Dhanush is there to entertain.

The likes of Suhasini, Sheela among others show their experience on screen. Dhina has come up with some catchy numbers and the best is ‘Saravana Samayal…’, a classical fusion.

On the whole, ‘Seedan’ is a breezy entertainer. With romance, comedy, sentiments and emotions at right mix, the film is worth a watch. Of course there are some speed breakers, but the ride is safe.

Aadu Puli Movie Review

Come what may, nothing can stop the flow of masala movies as far as Tamil cinema is concerned. And interestingly, but for few which are very clichéd, many worked wonders in the box-office, right from the black and white era to these digital days.

Having immense faith in this theory, first-time filmmaker Vijay Prakash has dished out a commercial entertainer, which strictly follows all the unwritten rules. Bit too spicy, ‘Aadu Puli’ also entertains us to a decent extent.

Produced by Michael Rayappan of Global Infotainment (‘Naadodigal’ ‘Goripalayam’ and ‘Thenmerkku Paruvakattru’ to his credit), the movie has a huge star cast- Aadhi, Poorna, Prabhu, Ravichandran, K R Vijaya, Suresh and ‘Nizhalgal’ Ravi among others.

Our hero Idhayakani (Aadhi) comes from a very big family, consisting father Bhagyanathan (Prabhu) mother Kalaiarasi (Anupama), grandfather (Ravichandran), grandmother (K R Vijaya) and a sister.

Even as all is well in the family, Idhayakani falls in love with Anjali (Poorna), daughter of a powerful Minister Thillainayagam (Suresh). Surprisingly, Thillainayagam, who aspires to become the Chief Minister of the State, gives nod to his daughter’s affair.

The lover couple gets ready for marriage with blessings from elders in both the families, but hurdle after hurdle prevent them from tying the knot. Initially unable to find who is the archer behind all the arrows, Idhayakani is shocked when he comes to know about the villain. What starts is a game, which would remind you the title.

Aadhi is on an upgradation mode and ‘Aadu Puli’ is one more step to his reaching the stardom. He fits well to the mass hero role. Poorna does a neat job in the role offered to her. Prabhu, Ravichandran, K R Vijaya and Suresh add credibility to their characters.

Sundar C Babu’s music is average while Rajavel Oliveeran’s camera has worked within the commercial format. Songs penned by Vaalee, Viveka and Kalaikumar come in regular intervals, providing relief.

Finally, ‘Aadu Puli’ is a predictable and has all the ingredients we had already seen in many movies. But at the same time, it is a clean entertainer (certified U by the Censors), which is fit for complete family viewing.

Nadunisi Naaygal Movie Review

Gautham Menon’s last film ‘Vinnaithandi Varuvaya’ rocked the same February season last year and it changed the lives of all the people associated with the film except him. The genre shift is not exactly what we were looking forward. In fact it is amusing to see three renowned directors have dished out three thrillers in the last three months. Easan, Yudham Sei and ‘Nadunisi Naaygal’.

‘Nadunisi Naaygal’ is the story of a boy who turns a psychopath with multiple identity disorder. Gautham has stuck to the theories of this disorder perfectly. But a placid narration is bound to test your patience.

Samar is a child abused by his trusted parent and grows under his neighbourhood Samaritan Meenakshi aunty with a new name Veera. But Veera is haunted by the traumatic events of childhood day and night. He splits off the awareness and memory of the traumatic events to survive in the relationship of Meenakshi. His compulsive disorder makes him possessive of Meenakshi and when she marries, Veera kills her husband. In the mêlée Meenakshi is also burned.

But Veera develops a personality thinking Meenakshi is controlling his multiple identities. His different personalities perform different functions that are destructive. Veera turns a psychopath who is after young girls and associates compulsive love and the violence. When he plays the game with his school friend Sukanya the game ends. Oh yes! I am able to narrate the story. If you still have problems wait for the end credits to roll and there is another proper narration.

‘Nadunisi Naaygal’ was flaunted as a psychological thriller after three decades and strictly warned the weak hearted to stay away. But not really so. The two hours long film fails to grip you. With no logical coherence in development you will fail to sympathise with the protagonist. So what does ‘Nadunisi Naaygal’ mean in the film? Nothing. Dogs only appear

There are not too many characters in the film and the director is able to extract good performances from his actors.

Veera as the psychopath is there in almost every scene. He gets a fairly long solo sequence at the climax to perform. His ‘Anniyan’ acts there of course are déjà vu. Considering he is a new comer, Veera passes with above average marks.

Sameera Reddy as Sukanya takes the second half along with him. As a traumatized girl waiting to be killed by a psychopath, Sameera has shown fear good. She can claim to have acted in this film as she is better off than her earlier two Tamil films.

But the cake goes to Swapna Abraham. She scores. As a protective mother figure and a helpless woman to veer away Veera, the singer has proved she is a good actor too. As a twist Gautham Menon’s lucky mascot Samantha Prabhu is also there in a cameo.

Technical department as always prove big strengths to Gautham Menon. Manoj Paramahasa’s cinematography is worth writing. The climax sequence where light and rain play games together is his. As almost the entire film was shot at night it gives the cameraman the challenge. Another notable act is the re-recording.

Gautham Menon had clearly said this film is for the multiplex audience only and we appreciate his foresightedness. This is definitely not a regular Gautham Menon film. Gautham is a story teller; ‘Nadunisi Naaygal’ looks seaming of incidents to look like a story.

May be you better go to see this film as a film not done by Gautham Menon.

Thambikkottai Movie Review

 

We have it again. The typical Tamil cinema hero is back to sing, dance, make love and fight a hundred baddies. But this time it is Narein, who is a first timer to this formula which is as old as the sun.

Having said that, we should also say that director Ammu Ramesh, a former associate to ‘Jayam’ Raja’, has productively rehashed this ‘winning formula’ into a full-length film, which makes us feel exhausted at few places.

Produced by R K Suresh, the movie with a huge star cast (Poonam Bhajwa, Santhanam, Prabhu, Meena, Sangeetha and ‘Nan Kadavul’ Rajendran among others), is a blend of action, romance, comedy and sentiments.

Alagiri (Narein) is brought up by his sister Shanmugapriya (Meena), a college lecturer, as their parents are no more. Life is a happy journey for Alagiri and his friends till he goes to Thambikottai village on a NSS camp.

Despite his sister’s advice not to leave for Thambikottai, Alagiri reaches the village, only to know that the place is controlled by dreaded don Amirthalingam (‘Nan Kadavul’ Rajendran).

Alagiri, who already has a connection to Thambikottai (which is told in a flashback), decides to put an end to Amirthalingam’s menace. In the meantime, he also falls in love with the villain’s daughter Kanaka (Poonam Bhajwa).

Initially it was difficult for us to swallow Narein’s super man act. As scenes unfold, the actor proves that he is not a wrong selection. Poonam Bhajwa does the typical heroine act while Meena makes a comeback.

Sangeetha, as ‘Beeda’ Pandiamma, reminds us Sornakka of ‘Dhool’. She plays a woman dhadha who is aware of Indian legal system. Prabhu, Santhanam and ‘Nan Kadavul’ Rajendran play their respective roles well.

D Imman has given what a masala flick requires while the in-charges of other departments have done a decent job. On the whole, the journey to ‘Thambikottai’ is like going to our grandparents’ village, that is, pothole filled, still enjoyable.

Payanam Movie Review

How many times had we seen a serious issue being dealt in the way it has to be dealt in Kollywood? How many times a real-life issue was given the right tinge of imagination that strikes a chord with masses? How many times that lead actors involved themsleves with the characters they play? And finally, how many times one would have felt watching a movie that the director had firm grip on the medium?

It majority of the answers is rare, then comes a whiff of fresh air in the name of 'Payanam'. The movie set in the backdrop of flight hijack has been told in a riveting way and interestingly the viewer would identify himself as one of the passengers in the flight.

Be it Nagarjuna or Prakashraj, who play key roles in the film, they form part of the script and nowhere one could find their individual traits coming to the front.

Three cheers to Radha Mohan, Prakashraj and Nagarjuna for the trio have combined to render a flm that is entertaining and enthraling from the word go. The filmmaker, who handled emotional and family dramas themes in the past, consciosuly chose to tread a different path and emerges successfully in a tight-rope walk.

'Payanam' is a ride of joy, ecstasy, camaradaerie, thrill and spill. Nagarjuna and Prakashraj, the two seasoned artistes, ensures that Radha Maohan's imagination are brought out well on screen.

For Radha Mohan, the captain of the ship (or call him the pilot of the flight), 'Payanam' would be a landmark film. He has brought out his other side with hard-hitting message laced in a sweet entertainer. What more? His ability to handle a large group of artistes and get their best is a trick that he has mastered since his first film.

A terrorist group hijacks a flight from Chennai. The plane, with 75 passengers (including a Minister and a top actor among others) and crew, is brought to the Tirupati airport. Home Secretary Vishwanath (Prakash Raj) and other higher officials come to the temple town to negotiate with the terrorists.

In the meantime, the job of rescuing the passengers is entrusted to NSG commando Ravi (Nagarjuna). What follows is diplomatic and pulsating efforts to save the lives pof 75 passengers on board.

Prakashraj continues his sublime form. He is at ease playing the pivotal role and brings out right emotions. Nagarjuna as NSG Commando is indeed an apt choice. Sans big romance or naach gaana, it's indeed relief to see a new Nagarjuna. His body language deserves special mention. He is portrayed as both brainy and brawny.

What is praiseworthy is that the rest of the cast including Sana Khan, Bharath Reddy and others, with everyone having a meaty part to play in the script.

Due credit should be given to cinematographer K V Guhan and art director Muthuraj. They are the flesh and blood to the movie. The authentic feel of being on board a flight is made possible by them. Also Praveen Mani's background ( sans songs) peps up the proceedings.

The producer in Prakashraj has once again proved that he has a nose for innovative ideas and that all hopes are not lost when he is around in Tamil cinema, which is otherwise dominated by cliched commercial masalas.

Kudos to Payanam for a great successful journey.

Thoonga Nagaram Movie Review

Kollywood has always been on the move with its action, thrill, stunts, love sequence and comedy. And Thoonga Nagaram is no different but with a new story.

The movie is about four drinkers who become friends through their hilarious activities in a wine shop. Thereafter they become best buddies. They promise to help each other regardless of any circumstances. The best example is when one of them gets angry and walks off and at his work is which happens to be a graveyard… he gets electrified and becomes seriously injured. That’s the moment when the true bond of friendship is seen.  All his friends run to save him, take him to a hospital, they take care of him no matter what happens.

 As a story line of the movie they try to tell that true friends never decieve each other. As the movie precedes, Vimal, the main lead, finds his childhood love Kalaivani which was lost due of his family problem, finally marries. The movie takes an interesting turn when then friends where drinking as usual, they come to know that there were two guys who black mail the brides of the city by taking their photos with a bad intention. Vimal who fights with them is unaware that one of them is a son of the brutal don. With the fear of being killed they leave Madurai and go back to their villages. They promise as to never return to city, but as every story tells the some how finds the hero, the same happened. The don threatens Vimal’s friends to kill him. In this unimaginable situation, they had no choice but to kill Vimal and save their families. But the unbreakable bonds of friendship stop them to do so. They spill out the plan to Vimal and re-make a counter planwhich happens to be the suspense for the audience.

Everything ends on a good note in Indian cinema. I personally feel that the movie has a good story which is again based on the madurai background films. The cinematography of the movie is excellent; the camera man Vijay Ulaganathan has brilliantly captured the movie, a big bow for his extremely good work.  This supposed to be the directorial debut of the director Gaurav. The movie has very good songs on terms of its lyrics, vocalists and choreography. The locations shown in the movie are pretty good.

Ilaignan Movie Review

Tamil Nadu Chief Minister M Karunanidhi’s pen seems to grow younger day after day. The man with a Midas touch, in his 75th film as script, oozes with the same energy which was evident in ‘Parasakthi’.

In a career spanning seven decades, he has touched on almost all themes that had a telling impact on the society. He never failed to champion the cause of the oppressed and the ink never dried when he wrote for the cause of the weaker section.

’Ilaignan’ is one more jewel in his crown that speaks for the cause of the working class. The need to respect workers, give them their due share and what happens if the capitalist tendency prevails is what ‘Ilaignan’ speaks about.

No doubt the script is outdated. But no complaints since ‘Ilaignan’ is a period film and the intentions are made clear from scene one itself.

With his fiery dialogues, Karunanidhi brings out the right emotions and creates the need for an equitable society. If Chief Minister Karunanidhi is the flesh of the movie, then director Suresh Krishna is the blood.

He in his 50th film, has given shape to Karunanidhi’s thoughts with ease and elan. The making is rich (thanks to producer S Martin) and the emotional drama has been brought out well. Be it the romance, rivalry between the capitalists and the working class of revenge or the mother-son love, all is captured well on canvas.

The story occurs in 1959. Rajanayakam (Suman), who owns a ship building company in rural Tamilnadu, exploits his workers. He forces them to work for meager wages and restricts them to live within a wall.

With no proper food, they are forced to suffer. More a bonded labour, they are put to untold hardship. Any kind of resistance is met with violence by Rajanayakam’s men. He is controlled by his fiancée Sena (Namitha), a wicked woman.

Enters Kargy (Pa Vijay), son of Arokiyasamy (Nasser) and Valliyammal (Kushboo). Arokiyasamy is killed by Rajanayakam’s men. Kargy joins the company as a staff. He sows revolutionary thoughts among the employees.

He forces them to take up a fight against the cruel wicked boss. He also gets the help of Meera (Meera Jasmine), sister of Deivanayakam. Also there is romance between Ramya(Ramya Nambeesan) and Kargy.

Soon after mobilising the support of employees, Kargy plans to wage a battle with arms. But his mother urges him to fight in a non-violent manner. However Kargy and his men are forced to pay a heavy price when the battle begins. Finally it a major fight between Kargy and Rajanayakam to settle scores.

Pa Vijay has played his part to perfection. He looks trim, slim and tailor-made for the role. He is expressive and gives his best performance. His emotional expressions towards the climax is worth-mentioning.

Equally impressive is Kushboo. Playing the role of mom, she is right there giving a excellent performance. Suman as wicked Rajanayakam is good. Namitha, Meera Jasmine, Ramya Nambeesan, Manivannan, Y Gee Mahendra and Vadivelu among others are adequate for the role.

Music is by Vidyasagar with a couple of songs inclouding ‘Imai Thoodhanae…’ is nice to listen to. The song ‘Thozha Vanam Thuram Illai…’is loud and rocking. B L Sanjay’s cinematography is bright and apt for the theme. But all credit should go to Thotta Tharani, who has put up huge set replicating a ship building factory.

Martin deserves accolades for producing a movie in a lavish manner. With Suresh Krishna and Karunanidhi at the helm of affairs, ‘Ilaignan’ is an old theme, which is still the need of the hour.

Sirithai Movie Review

Karthi seems to be having a dream run in Kollywood. He is like a batsman in in prime form smashing all deliveries to boundary. As long as you are not ready to complain that 'Siruithai' lacks logic, the film would work big time, as it is an out and out commercial fare.

Having started his career convincingly being part of off-beat movies like 'Paruthuiveeran' and 'Aayirathil Oruvan', the sibling of actor Suriya is right here at a groove proving that he too is not far behind his elder brother, tasting success doing mass masala ventures.

Adding to his list of entertainers is 'Siruthai'. Fast and furious from the word go, the movie comes with a sole purpose to provide entertainment and with no pretensions achieves the purpose.

As if not happy scoring a ton in his earlier ventures, Karthi goes to score a double hundred here. Yes, the actor manages to pull it off convincingly donning a dual role in the film for the first time - that of a callous local youth and a tough cop.

Though a remake of Telugu hit 'Vikramarkudu', director Siva has taken Karthi's abilities in his stride to make some suitable changes in the Tamil script, that helps the movie cross the chequered flag with much ease and gusto. Be it the dialogues, comedy, action or romance, 'Siruthai' manages to sustain all interest - it is like a pot where you put your hand everytime you get a fortune.

Rocket Raja (Karthi) is a small time thief who is talented enough to steal anything he comes across. In the company of Kaatupoochi (Santhanam), he enjoys life to its extent and even falls for the charm of a beautiful girl (Tamannah).

However, his life changes forever when a small girl comes to Raja calling him dad. As Raja finds out the girl's past, a flashback reveals that she is the daughter of an honest cop Rathanavel Pandian (Karthi), who is a nightmare to baddies.

However, Pandian is now is on the run because his enemies are behind him and his daughter. Eventually, the villains find the whereabouts of Pandian and finishes him off.

So steps in Rocket Raja (with the help of Pandian’s colleagues who are behind the girl reaching him) into his shoes and finishes the unfinished work of Pandian. He also takes care of his daughter. A roller-coaster ride of fun, joy, camaraderie and romance is what 'Siruthai' is eventually.

Karthi has not merely run through the motion but gives his heart and soul in the characters. Be it a fun-loving Rocket Raja or the angry policeman Rathnavel pandian, Karthi brings both astute on screen. He combines the Anbuselvan of 'Kakkha Kaakha' and the Sakthi of 'Pithamagan', made famous by his brother Suriya. At ease and at his self in dual roles, Karthi spells his charm all through.

Not far behind is Tamannah. The 'Paiyaa' duo of Tamannah and Karthi recreates the same chemistry on screen. Tammanah as bubbly innocent girl spells magic. A complex character made with ease by her. After a brief interval, she gets a role in which she really sparkles.

Add Santhanam for humour, and the end product is breezy and entertaining. As usual the comedian has audience in splits with his one-liners. He combines the grace of veteran Goundamani and presents them in his unique way, scaling success movie after movie. Mega Nair (of 'Thangam' fame) plays a woman police and has a bearing in the script.

Then there is Avinash, Rajiv Kanakala among others who do the job given to them with consummate ease Walking away with honours is Vidyasagar. The man of melody has come up with a cocktail of peppy and soft numbers, while Velraj's cinematography is the talking point of the movie. The action sequences featuring Karthi as cop is major plus for 'Siruthai'

Produced by Studio Green, 'Siruthai' is fit and fine for a good leap. With Karthi trying new vistas not missing out on the entertainment quotient, it is a obvious sweet pongal for masses this Pongal. Action and satisfaction is what 'Siruthai' is.

Aadukalam Movie Review

Director Vettrimaran proved that he is a man of substance in 'Polladhavan'. He reiterates it with more conviction and courage in 'Aadukalam'. With Dhanush again in the company, he has crafted a story that is meaningful and loaded with faces whom we often see in our midst. The core word is realistic and touchy.

After a sci-fi film in 'Enthiran', Sun Pictures have gone to the roots of our culture and they have managed to produced a film that strikes our heart instantly, which they could feel proud of. Vettrimaran deserves all pat for narrating a simple story with intricate and complex emotions in a nice manner.

The essence of true friendship, love in hatred and hatred in love and betrayal are highlighted in a excellent way by the director. Unlike the regular run-of-the-mill Madurai movies, 'Aadukalam' has more substance to chew for the masses. It is strikingly different and Madurai just forms part of the story.

If Vettrimaran is the flesh and blood, Dhanush is the soul. Doing the roles of boy-next-door is like a cakewalk for this lanky actor. His intense performance is the hallmark of the movie. He leaves a magic with callous dialogue delivery and apt body language. He seems to be in more comfort when he works with Vettrimaran.

Coming to the script, everything is new in 'Aadukalam'. Perhaps a different pitch where Vettrimaran goes all guns blazing. The story unfolds in a suburb in Madurai where cock fight is the most happening thing. Be it sorrow or joy or be it to proclaim the superior status in the village, rooster fight is played with all seriousness.

K P Karuppu (Dhanush) does everything and works tirelessly for Pettaikaran (Jayabalan). Pettaikaran is a stud in the sport and he had won many cock fights .There is one Dorai (Kishore), who too is an assistant to Pettaikaran. Obviously ego flare up between Dorai and Karuppu is bound to to be there.

Karuppu comes across an Anglo Indian girl Irene (Tapsee), living in the nearby railway colony. Innocent Karuppu tries ways and means to impress Irene. Meanwhile there is a cop in the same town - Rathnaswamy (Naren) who is also involved in cock fight and a name to reckon with in the sport.

All troubles break loose when he plans a fight with Pettaikaran. They manage to obtain permission from all authorities concerned and the sport for prestige begins. Interestingly the former adopts all fraudulent methods to scuttle Pettaikaran. When Pettaikaran loses at the start, enters Karuppu to save his master's pride.

He matches Rathnaswamy's tricks and emerges winner. A jealous Pettaikaran now disowns Karuppu. The victory brings laurels in Karuppu's shoulder and soon he becomes a star in the neighbourhood. Pettaikaran plan a plot to avenge him. This enmity snowballs in to a huge crisis leading to a racy climax.

'Aadukalam' is a whiff of fresh air in cliched Tamil cinema. Dhanush is at it giving one of his best . He is right there giving an astounding performance from frame one. He is at ease with Madurai diction of Tamil. WIth a perfect body language, Dhanush walks away with all aplomb.

Jayabalan is a perfect choice for the character of Pettaikaran. He lives up to the role and delivers dialogues with such power and punch. Kishore as usual does the job entrusted to him well. But a surprise package in the cast is Tapsee. She in the role of Anglo Indian girl is simple, sweet and elegant.

Vettrimaran has entrusted that it should not just be a superior product with a strong story but should be technically-rich. Dialogues and razor sharp editing (Kishore) besides cool visuals of Velraj adds strength. G V Prakash's catchy musical score is another plus for the film. Songs and background score go hand-in-hand withe the theme.

However on the flip side, some dragging moments in second half could have been avoided. On the whole, it was an different experience watching a different film. Hats off Vettrimaran and team and three cheers to Dhanush.

Kavalan Movie Review

‘Kavalan’ is no doubt a different Vijay film. Yet, it is no different movie for it has got nothing big to offer but for Vijay’s terrific screen presence coupled with his neat performance and an emotional climax that comes with a twist.

Take away Vijay and Vadivelu (who provides relief in a few scenes), ‘Kavalan’ could make you squirm on seats, courtesy an outdated script and age-old style of narration. A few compromises to the original version (Malayalam hit ‘Bodyguard’) to suit the image of Vijay too fails to work big time.

In other words, ‘Kavalan’ could be a classic example of how a potent knot could be diluted in the name of making it a ‘commercially viable’ product. One good sign is that Vijay coming forward to be part of a project which doesn’t portray him as a demigod.

Coming to the story, Bhoominathan (Vijay), a carefree youngster, is made by his father (‘Nizhalgal’ Ravi) to join the household of Muthuramalingam (Rajkiran), a don-turned-do gooder in a village near Madurai, as a bodyguard.

As there is a threat to the life of Muthuramalingam’s daughter Meera (Asin), he asks Bhoominathan to accompany her to the college and provide security cover. As Meera feels Bhoominathan’s presence as a disturbance, she plays a prank on him, despite a warning from her friend Maadhu (Mithra Kurian).

Slowly, Meera falls for the charm and good heart of Bhoominathan and all hell breaks loose when Muthuramalingam, who never allows anyone deceive him, comes to know about this. What follows is a dragging climax, which however is emotional and touching.

Vijay is the real one-man army who saves the film to a great extent. It is his charm and performance that work big time in ‘Kavalan’. Asin is good but her much talked about chemistry with Vijay (in ‘Sivakasi’ and ‘Pokkiri’) is missing.

Vadivelu as Amavasai provides comic relief on very few occasions. Mithra Kurian, Rajkiran, Roja, KK, M S Bhaskar and ‘Pithamagan’ Mahadevan have performed well, but only have little scope as it is Vijay’s show all the way.

Vidyasagar is back with ‘Kavalan’ and his background score is good. So are a couple of songs. Cinematography by Ekambaram and editing by Gowri Shankar add value to the end product.

The script has many loopholes for there are many unanswered questions. One good example is that why ‘Pithamagan’ Mahadevan, who challenges to kill Asin at any cost, vanishes all of a sudden.

Siddique is a director with a magic touch in Malayalam. And in Tamil too, we have enjoyed his movies, especially ‘Friends’ with the same Vijay. However, as far as ‘Kavalan’ is concerned, we have to conclude the review with a dialogue oft-repeated by Vadivelu in the film- ‘Avarey confuse aayitaaru pola irukku…’

Vaada Poda Nanbargal Movie Review

 

There have been many films in the past which have used the universal theme of friendship to reach out to audiences even without the presence of any stars. Vaada Poda Nanbargal also looks to travel along the same path. The difference here being that the two friends have not seen each other; their friendship starts from the current generation’s favourite online hobby – the chat, and grows through other modes of telecommunication like the mobile phone etc. The director must be acknowledged for being very contemporary here. But, what good is an online friendship, one might ask. How much faith and connection would such friends have in each other? This friendship too is like that to start with. But, a fortunate turn of events, thanks to technology and photo sharing, makes one of them regain something very valuable in his life which makes him greatly indebted to his friend. That is where the bind gets stronger. But, an online friendship, does have its own limitations. The very technology that made them friends in the first place also plays spoilsport; online identities which are far removed from real life; and threatens to mar the relationship, again through a thoroughly unexpected sequence of events.
At the outset, the premise does look interesting – friends who have never seen each other! This kind of concept has worked before; except it was not about friends, but lovers. Here the director fails to create the same suspense or magic which goes with a very strong relationship where the people involved have not seen each other. Part of the reason for that is the sequence of events in the script. A linear pattern of narration makes the goings on very plain. Also, the director has not been able to make the audience feel the depth of the friendship which works against the movie. More importantly, the sequence of events which leads to the strengthening of the friendship looks far too serendipitous to digest easily. Likewise, the event that leads to the final face off also looks a bit trivial; a matter of stretching a minor quarrel too far. Another major drawback of the film is the failure to build effective characters sketches of any of the protagonist. Even though the film shows the daily personal lives of both the friends, the sequences look disjointed, fragmented and ultimately have very little bearing on the friendship and ultimately the plot. Most of the parts where the script wanders out of the friendship track and into the personal lives of the protagonists can be considered as pretty inconsequential portions of the film. On the whole, it is a script that lacks cohesion that has spoilt the party for Vaada Poda Nanbargal.
The film does give the look and feel of one that has been brought out by a bunch of newcomers. They have tried hard, no doubt, but have failed to reach the professional level of film making. Almost all departments, camera, editing, re-recording, are a notch below what would be considered par in Kollywood at present. The fresh faces on screen too have not made a great impression, though one cannot fault the earnestness of their attempts. Music by debutante Siddharth also does not stand the movie in any great stead.

Vaada Poda Nanbargal is an account of two friends which fails due to a general lack of focus in the script.

Yudham Sei Movie Review

Soon after the critically acclaimed ‘Nandalala’, Mysskin has dished out a diagonally different film in ‘Yudham Sei’. It comes under detective thriller genre. The film was thought by many as a sequel to ‘Anjathey’, but it no where near that. ‘Yudham Sei’ is not a conventionally commercial film but has a lot for cultivated audience.

Story is simple. A CBCID officer is investigating an eccentric series of crimes happening in the city. His investigation leads him to the unexpected crime doers. The CID officer also has a motive to track the killers and the killers also have a strong reason to do what they do. In the end there is a surprise waiting. 

It is in the detailing and the gripping narration the film wins. Right from the first top angle shot of a rainy night, the first half is very absorbing and the twists and surprises will really hold you on to your seats. It gives a new dimension to detective genre in Tamil. Every move the investigating officer takes is intelligent for a change and you unquestionably travel along with him.

There are a lot of scenes to show Mysskin’s touch through out the film. Like Cheran throwing the profiles of the officers who have been deputed to help him in the dust bin, the transitions in the sequence where Manikka Vinayagam story unfolds, the cleverly choreographed action sequence just before the intermission  and so on. The climax is very blood spilling but you don’t see much blood spilling.

In the acting department it is Cheran’s game all the way. As a helpless police officer who is trailing the killers for the sake of himself also is remarkably good. His delicate emotions, particularly in the scene where he is told of his sister being alive, his changing of expressions are class. Just as Mysskin categorically said before the release, even we say Cheran is the best choice for the role.

Even the supporting cast has done brilliant jobs in Yutham Sei. Y. Gee. Mahendra, Lakshmi Ramakrishnan, Jayaprakash, Selva, Marimuthu, E. Ramadoss, Yugendran and Manicka Vinayagam. Particularly Y. Gee. Mahendra, Lakshmi Ramakrishnan and Jayaprakash play crucial characters and they will shock and surprise you at the same time. In the climax scene you will see the best of all.

In the technical areas the cameraman Sathya and the music director K have worked as the right and left hands of Mysskin. The visual images are neat through the eyes of Sathya. In many follow through shots the placing of the camera was interesting particularly in scenes involving vehicles.

Music director K has played his heart out in the background score.  The violin bits that work as theme music are raw and riveting. The film has just one song and that is a typical Mysskin kuthu in the lines of ‘Kathala Kannale’ and ‘Vaalameenukkum’. Director Ameer and Neetu Chandra dance relives you dancing to the song.

The only could have been done thing is a little trimming of the second half. The tempo that was built by the engrossing first half slows a bit in the second, although the climax scores.

 On the whole ‘Yudham Sei’ is absolutely watchable just for Mysskin and his way of story telling.