Saroja (Tamil) Movie Review

Saroja (Tamil) - Shines, sizzles
After a cool outing in Chennai-28, director Venkat Prabhu has come out with a taut thriller in Saroja. However, quite like his maiden venture, Saroja too is a fable of friendship, a story of emotions between pals and a tale of twists and turns.
With almost everyone of the cast and crew of Chennai-28 are there in the movie at least in a small role, Saroja takes us back to the cricket story while taking Tamil cinema front in terms of film making and story telling.
The story is so simple. The screenplay is straight forward. And the execution is honest. It starts with four youngsters Jagapathi Babu (S P Charan ), Ganesh Kumar (Premgi), Ajay Raj (Shiva) and Chinni (Vaibhav) leave for Hyderabad to watch a cricket match.
They lose their way due to a tanker mishap on the National Highway they travel and enter the 'den' of a rowdy gang, which had kidnapped Saroja (Vega), the daughter of a rich entrepreneur Vishwanathan (Prakasraj).
With Vishwanathan and his friend Assistant Commissioner of Police Ravichandran (Jayaram) taking steps to get Saroja back, the four-member team rescues her and escape from the kidnappers after all travails.
However, when they are about to reach a safe place, they are into a sudden shock, which turns entire things upside down. What's it is the interesting climax, which is interesting, gripping and of course breathtaking.
All four lead actors- Charan, Premgi, Shiva and Vaibhav have come out with their best. No need to talk about Prakashraj and Jayaram, both synonyms with apt performance. Nikitha oozes glamour while Vega emotes well.
The real strengths of the movie are Yuvan Shankar Raja's music and Sakthi Saravanan's cinematography. Both do magic from the beginning till end, not to forget about the editing by Praveen K L and Srikanth N B.
In short, Saroja shines and sizzles and undoubtedly a trendsetting movie like Chennai-28. And all credits should go to director Venkat Prabhu, who has once again proved his talent. Hats off!

Jeyam Kondaan Movie Review

Jeyam Kondaan - Sibling reconciliation
Director Kannan's debut film 'Jeyam Kondaan' from the stable of the reputed Satya Jyothi Films comes across as an entertainer sans conviction. The filmmaker has attempted to portray a young man's life weaving incidents that overtake his plans at every juncture and yet the sophisticated youth's focus is never in question. The film does boast of some slick cinematography but then every other department fails to impress much. Vidyasagar has certainly had an off day with his music. None of the songs are hummable and the background score is pretty ordinary.
Vinay is quite successful in donning a sophisticated and cool demeanor and seems to have traces of his 'naughty' expressions from 'Unnale Unnale' especially in the company of the two leading ladies Bhavana and Lekha Washinton. Kishore as the menacing gangster needs to be appreciated for his performance. The actor seems to have carried on the good work from 'Polladhavan'.
Kudos to Kannan, an erstwhile associate of Mani Ratnam for coming up with good characters in the film, but then some of the characters are wasted with quite a few loopholes in the script.
Arjun (Vinay) returns to Chennai after working in London for many years after his father's demise. With plans to start his own business in India with about 60 lakhs he had sent his father over the years, he reveals his intentions to a group of friends who get ecstatic at his plans. But the bubble bursts once they find that his father's bank balance does not support his plans. In comes a shocking revelation. His father has had another family and he had also raised a daughter (Lekha Washington) who is about twenty years old and has an insatiable thirst to study in the United States of America.
Sibling rivalry ensues over property inheritance and this is about the time director Kannan succeeds in keeping the audience interested. But then the intensity is lost with loads of contrived situations that lead the protagonist to Madurai where he intends to sell off one of his father's property which currently houses Bhavana and family. The inevitable (love) has to happen.
The film then gets rejuvenated with the entry of a local gangster Guna (Kishore). The character of the gangster's concubine keeps the intensity going as she has viewpoints that are not frequently addressed in Tamil film. She adores the gangster because he has the capacity to make people tremble with fear. Incidents build up in such a way that the concubine is killed in an accident in which Arjun is involved. Guna takes it personal and is out to get him at any cost.
Lekha Washinton's character is something most actresses who can perform well would love to don. The character has the scope of performing a plethora of expressions and Lekha has done quite well. Since this is her very first film we probably can expect a much better performances in her coming films. Bhavana though does not have much to do than except talk cute in most sequences.
With Guna expected to strike anytime, Arjun showers a lot of love and affection on his step-sister which she detests. What happens between then so that all their dreams can come true forms the rest of the story.
A very clear factor with 'Jeyam Kondaan' is that the director despite wanting the take the story forward based purely on human emotions has somehow succumbed to certain commercial elements that do not jell with the story at all. Comedy elements work well in patches with Vivek, Santhanam and V. M. Hanifa providing the laughs.

Dhaam Dhoom Movie Review

Dhaam Dhoom - CLASSY AND ENGROSSING
The first thing that has to be said about 'Dhaam Dhoom' is that the man who envisioned the project and started making things happen - master cinematographer and director Jeeva would have been a mighty proud man if he had lived to see the release of the film. Cinematography, Art Direction and the Background Score truly comply to international standards and blend perfectly well with the mood of the film.
The story of 'Dhaam Dhoom' heavily inspired from the 1997 Richard Gere film 'Red Corner' keeps the audience engrossed right from the outset. Stunning visuals of ravishing Russia, the earthly beauty of India and the choice of characters have been meticulously showcased thereby creating the right foil for the thriller elements of the film. Jeeva has been a big name when it came to highlighting emotions of young people in a trendy way. This is the first and sadly the last where he has ventured to make a thriller. 'Jayam' Ravi is probably the perfect choice to play the character of a man 'hunted' by Russian law and has to 'hunt' in order to prove his innocence. The onscreen chemistry between 'Jayam' Ravi and Kangana Ranaut is telling and works wonders for the film. Kojernikova Maria, a Russian actress, Lakshmi Rai and Jayaram fit into their characters with ease and style.
Gautham Subramanium ('Jayam' Ravi), a brilliant medical practitioner is engaged to his sweetheart Shenba (Kangana Ranaut) in a village and is all set to marry her in a matter of days when a prestigious call to represent the nation beckons him. A medical convention is to happen in Russia for a week and a few Indian doctors travel to take part in it. Once in Russia, Gautham bumps into a seductive Russian girl, Anna (Kojernikova Maria) who has a mysterious nature about her. After a brief rendez-vous in a night club the two end up in Gautham's place and the next morning dawns as a shocker to the young Indian. Anna is found dead and the police arrest Gautham on charges of murder. Completely bewildered by the sudden happenings and not understanding what the representatives of the law speak, a Russian based Indian attorney named Aarthi (Lakshmi Rai) is appointed to represent his cause. But then our protagonist gets an opportunity to escape from the clutches of the police and decides to unravel the truth with the help of Aarthi. An employee of the Indian Embassy in Russia, played by Jayaram is also sympathetic to the cause. To add a bit of romance-oriented confusion Aarthi begins to drift towards Gautham in spite of danger lurking all around.
Gautham's and the blushing bride-to-be Shenba's family wait for the return of the groom but then they get to know the dastardly events that had happened in Russia through television news broadcast.
The story has been narrated in such a way that montage sequences narrate blossoming love and dreamy scenes with immaculate hopes and then the stark reality of the protagonist being a fugitive sets in.
Harris Jayaraj's songs are pleasant to hear with 'Anbe En Anbe' taking center stage. The background score simply stuns audiences and has traces of the Hitchcockian style of tension building. Certain scenes accompany the 'Pshcho' kind of tension music and the use of traditional Indian instruments accompanying their western counterparts comes out in a breathtaking fashion.
When it comes to cinematography, the word is AWESOME. Manikandan, Rajasekhar and Jeeva himself (for some song sequences) have come out with tantalizingly creative stuff. The awesome threesome will have to thank Thotta Tharani for his brilliant art and design work. A picture they say is worth a thousand words. With each frame of the film having come out in such a pleasing way the output has semblances of poetic expressions.
Stunts have been innovatively done expect for a few rope-oriented jumps and 'Jayam' Ravi's body language and poise has been excellent. He has all the making of becoming a very successful action hero.
The film however runs out of momentum especially around the time the protagonist finds out the real culprit behind his being framed. On the whole, interest levels are sure to be maintained.
The technical brilliance and intensity the script carries has shaped out to be a true tribute to Jeeva. The hard work meted out after the director's demise is clearly showing. Good work from a good team.

Nayagan - Movie Review

Nayagan - Perfect appetite for action-lovers
Director Saravana Sakthi has dished out an action-packed entertainer inspired by the Hollywood flick 'Cellular'. The movie has enough commercial elements and the fast narration of events maintains momentum throughout the film. If you can walk in with no expectations, you will very well come out quite pleased.
A young man, who receives a phone call from a kidnapped woman, takes the responsibility of rescuing her and saving her family. This forms the crux of 'Nayagan'. He is assisted by a cop to accomplish the task.
‘Nayagan’ features J K Ritheesh and Ramana in lead roles. The former plays a policeman while the latter is a jobless youth.
Ritheesh made his debut with 'Kanal Neer' and in his very second film, he is portrayed a larger-than-life hero with elements like dance, fight and punch dialogues to boot. Ramana, an actor with immense talent has been looking for the right break for quite some time now. He has played his part exceedingly well.
Sakthi (Ramana) receives a call on his mobile phone from a doctor Sharadha (Sangeetha), who has been abducted. The woman is kept in confinement and somehow manages to contact Sakthi using the loose wires of a smashed phone. The tension mounts as the kidnappers are set to go after her child next.
Sakthi understands the gravity of the situation and takes it upon himself to rescue her. He is joined by a police officer Guru (Ritheesh) in this task. Among those in the cast are Anandhraj, in a dual role and Vaiyapuri.
Sangeetha as the kidnapped woman is the scene stealer. The ease with which she performs should be applauded. Equally appreciable are the roles enacted by Anandhraj. In dual roles, he pulls off terrific performances.
Saravana Sakthi has set the pace in such a way, that one may not be able to spot logical loopholes in the film.
It is a film for action-lovers. Sit without expectations and enjoy 'Nayagan'.

Satyam Movie Review

Satyam - Fails to impress


Donning the role of an honest cop is indeed a dream of most of the actors in Kollywood. Vishal has fulfilled it in 'Sathyam', a usual cat and rat story, however with interesting twists and turns from beginning to end.

Director Rajasekar, who has come out with a tight subject in the first film itself has weaved his day to day experiences during his tenure as a journalist as a racy script, which may be liked by the audience in Andhra Pradesh, than those in Tamilnadu.

Interestingly, this film marks the direct entry of Vishal in Tollywood, as 'Sathyam' is his first to be simultaneously made in Telugu, since all his previous flicks were just dubbed to speak the language of the neighbouring State.

Coming to the story, Sathyam (Vishal), an Assistant Commissioner of Police is asked to investigate the motive behind the murders of Ministers. In the process, he finds the culprit (Upendra), only to receive a rude shock to know his identity.

For, the murderer is none other than a former police officer, who inspired Sathyam to take the cop job. Revealing the reason behind his change of mind, the ex-cop says that he is on a killing spree as he failed to set right things in khakhi uniform.

Sathyam, who throws a challenge at his mentor that he would use the power of law to put the wrongdoers behind the bars, vows to throw light on the illegal activities of a Minister (Kota Srinivasa Rao), who aims at the Chief Minister post.

During his attempts to establish truth, Sathyam faces various troubles. However, he proves that truth alone will triumph always. In the meantime, the protagonist also has a romantic episode with Deivanayaki (Nayantara), a TV journalist.

Thanks to the training he got under the guidance of a senior police officer, Vishal fits well to the shoes of a cop. His physique cooperates well with the body language, thus giving him a rigid look.

Nayantara, as a chirpy and vivacious journalist, helps the film whenever it needs the dose of glamour and comedy. Though some of her hilarious sequences fail to evoke laughter, she presents a beautiful chemistry with Vishal in songs. Standing testimony to this is Chellamay Chellamay.

Harris Jayaraj's music is not up to the mark while R D Rajasekar's camera work sizzles. Coming to the performance part again, Upendra and Kota Srinivasa Rao make their flags fly high in this Tamil flick, which has traces of Telugu in many a scene. Had the director avoided this Andhra flavour, one can salute Sathyam for many reasons.

Kuselan - Movie Review

Kuselan - An ode to friendship and of course Rajinikanth


How many times have you walked out of a theatre emotionally choked up after watching a Rajinikanth film? How many times have you seen Rajinikanth not uttering a punch dialogue in his films? How many times have you not seen Rajinikanth flexing his muscles and bashing the baddies in his movie?

Watch ‘Kuselan’, where one can find a completely different Rajinikanth – the real Rajinikanth, the human being. The movie is perhaps an answer to his critics who have been criticizing the actor for doing routine 'commercial masalas'. Thanks to P Vasu, Rajinikanth reinvents himself bringing out the actor within him through this film. One thing is very clear. He has not acted to commercial compulsions.

The movie throws light on the real Rajinikanth, who has been quite a puzzle with millions of his fans. And the star himself answers questions that have been plaguing the minds of millions of his fans. Want to know the answers to why Rajini has not entered politics? Why the superstar often goes to the Himalayas? Why the actor still prefers to work in run-of-the-mill stuff?

‘Kuselan’ has got all the answers. With Rajinikanth by his side, P Vasu has come out with a message that is quite though provoking. The usual adage is 'Matha Pitha Guru Deivam'. With ‘Kuselan’ the adage gets an addition - 'Matha Pitha Guru Nanban Deivam'.

He plays the 'Super Star' himself and does not at any time impose himself on screen. Watching Rajinikanth play the role with consummate ease is like watching Sachin Tendulkar on song at the middle of the crease. It's like listening to Beethoven's symphony sitting under the moonlight. Though the story doesn't revolve around Rajinikanth, he manages to leave his indelible presence on screen. Especially towards the climax, an emotional Rajinikanth identifies his friend recalling their good old innocent days. These are sequences that evoke tears to our eyes bring the human side of each of us to the forefront.

It is a tough task for an actor like Pasupathy to carry the entire burden on his shoulders acting alongside a scene stealer like Rajinikanth. As a poor barber, fighting for survival, he evokes all the sympathy. Seemingly an extension of his role in ‘Veyyil’, Pasupathy passes out with flying colors. Hats off to him!

Meena as his caring wife is more of a realistic portrayal. She understands the emotional struggles of her husband and gives him the much needed solace and comfort. She sure manages to get under the skin of her character and has done an extremely good job.

Nayanthara plays herself in the film and executes the job entrusted to her quite well. She plays a heroine in films, who shoots for a movie alongside Rajinikanth. She fulfills the glamour quotient and serves the purpose indeed well. Vadivelu's comedy compliments the script well. His trick to get an audition with Rajinikanth, who is shooting in the village brings down the roof with laughter.

The movie boasts of a huge star cast including Livingston, M S Baskar, Sona, Geetha, Fathima Babu, Brahmanandham, Chinni Jayanth. All have significant parts to play in the film.

Prabhu plays a cameo while a host of stars including Sneha, Soundarya Rajinikanth, Suriya among others appear for the ‘Cinema Cinema’ song.

Kuselan is about two childhood friends, with one becoming the Numero Uno in the film industry, while the other lands up as a barber in a hamlet.

Balakrishnan alias Bala (Pasupathy) is a poor barber in a village. He leads a happy life with his wife Sreedevi (Meena) and his children, until a film crew lands in their village to shoot for a movie. Coming to know that Super Star Ashok Kumar (Rajinikanth) has come for shooting in the village, and also with the understanding that he is Bala's childhood friend, villagers flock to Bala's house with favors. A man with tremendous self dignity, Bala fears to meet Ashok Kumar thinking that he may not identify him. But, when the two meet after a long gap, the emotional drama between the pals, sets up an emotional 20-minute climax.

Complimenting Vasu's hard work are Arvindh Krishna's excellent cinematography and the brilliant musical score by G V Prakash Kumar. The catchy numbers ‘Om zarerare’ and ‘Cinema Cinema’ have especially been captured in an attractive manner by Aravindh Krishna. The background score towards the climax sets up the momentum.

Hats off to director P Vasu! The film-maker, who knows the knack of remaking a Malayalam hit in Tamil, has rendered a movie that has the right packaging of emotions. He has intelligently packaged the movie with commercial elements that a hardcore Rajinikanth fan would love without spoiling the crux.

Produced by Pushpa Kandaswamy and Vijayakumar, ‘Kuselan’ is a movie that would go down well with Rajinikanth fans and this is a great opportunity to see the real side of this spectacular actor though on celluloid.

Maanavan Ninaithal Movie Review

Maanavan Ninaithal - Bhagyaraj hogs the limelight

Debutant director Gnanamozhi has dished out an oft-repeated storyline based on campus love although with predictable sequences.

Newcomers Ratheesh and Priyashree play the lead role. The supporting cast includes K Bhagyaraj, Nalini, Pandu, Kottachi and Manobala.

Bhagyaraj hogs the limelight and manages to leave his mark in the brief role spicing it with his unique style of wit and punch dialogues.

Newcomer Ratheesh and Priyashree have done their best to be noticed.

Ratheesh hails from a poor family and manages to secure good marks in his school final examinations. He gets admission in a prominent college in Chennai. He falls in love with Priyashree, who studies in the same college. His life then takes an unfortunate turn.

He gets acquainted with a group in the college and goes the wrong way. He takes to drugs and liquor. Realizing his folly, he decides to end his life.

He conveys his decision through an audio cassette and sends it to his parents. Enters K. Bhagyaraj, a do-gooder, who helps Ratheesh overcome all his problems.

Newcomer Dashi has come up with a couple of hummable tunes.

Produced by Adhavan creations, 'Maanavan Ninaithal' is a movie that could have been made better had the director infused pace in the screenplay. The narration too could have been placed in a better order.

Taking into considering that this is Gnanamozhi's maiden venture, a pass mark can be given.

Vallamai Tharayo-Movie Review

Movie

Vallamai Tharayo
Director

Madhumita
Music

Bharadwaj
Cast

Parthiban, Chaya Singh, Anandraj, Karunas

Before release there was a lot of hype around debutant director Madhumita’s Vallamai Tharayo. Like every other young debutant trying to bring a fresh whiff of sensibility one hoped that Madhumita, the lady director would come out with some fresh and interesting film.
Unfortunately Madhumita has flunked, as she has made her own version of the Mani Ratnam classic Mounaragam from a feminist point of view. The film is weak in narration and execution. The principal characters look plastic and Parthipan has ended up with egg on his face, as the weakest link in Madhumita’s story telling.
His character has been badly etched and there will never be such a spineless characterization of a newly married husband who is willing to tolerate the torture heaped on him by his unsympathetic and cruel wife. Any man with some self respect would have given the wife character (Nandita) a piece of his mind and walked out of the marriage!
Due to certain situations (largely made up by the writer-director) Nandita (Chaya) is forced to marry Anand (Parthipan) a guy whom her father (Anand Raj) chooses. She is deeply in love with her cousin Sekhar (Srikanth in a one-scene cameo) and all her attempts to contact him and resist the marriage is thwarted by her dad. The wedding takes place and Nandita reaches Chennai with her husband. The couple realizes that they work in the same office (???).
Nandita is a stubborn and highly egoistic and just cannot forget Sekhar. She treats Anand like a stranger and they stay in the same house till one day she seeks divorce for a stupid reason. The couple are separated but from here the film becomes boring, characterization goes haywire, comedy scenes sticks out like sore thumb and above all too many songs mars the tempo.
We feel sorry for Parthipan who is just wasted as Anand especially post interval. All the respect that we had for him till then turns into irritation and little can we sympathise or even like him after he starts following her and adopts childish measures to lure her.
Chaya Singh has a dream role as the film belongs to her. But again her character is so confusing as her love with Sekhar is not established and when he says (on TV) that he is going to get married to another girl, the so-called love story between them turns out to be a laughing matter.
And the role of the maid (Devipriya) looks more like a caricature. She walks into Nandita’s house, gives her advice on her personal matters and speaks fluent English which just does not gel.
Madhumita’s attempts need to be complimented but somewhere down the lane, her direction turns amateurish. Bharadwaj hasn’t exerted himself much. The heard-before feel in a couple of numbers dampens your enthusiasm. The first song is a rehash of his own Unnodu Vazhathay…, from Amarkalam and picturised so imaginatively on Ajit and Shalini by Saran.
Verdict: Average

Ayutham Seivom- Movie review

Movie

Ayudham Seivom
Director

Udhayan
Producer

Pyramid Saimira Production
Music

Srikanth Deva
Cast

Sundar .C, Anjali, Vivek, Napoleon, Nazer, Vijayakumar


One of the biggest influence in Indian cinema has been the ‘Munnabhai' phenomenon along with the concept of 'Gandhism', in commercial potboilers. The larger-than-life, action hero turning into a Gandhian following the principals of the 'Mahatma' and theory of 'Ahimsa'.
Udhayan's Sundar.C mass masala Ayudham Seivom follows this principal. It is fun to watch till interval, but after that the director loses his plot and the film fizzles out leaving you disappointed.
Like in his earlier film Sundar.C is a rowdy character called Saidai Sathya, who does 'goonda giri' for the rich and powerful. His partner who acts as the buffoon is Vivek as traffic constable Kandasamy, but soon they are dragged to the court by a crusading lawyer Udayamoorthy (Vijayakumar).
The court passes strictures against the habitual offenders and to reform them they are sent to Gandhi Museum in Madurai.
Sathya and Kanthasamy are tamed to a certain extent by the attitude of the caretaker (Nasser) of the Gandhi Museum. Sathya also falls in love with Meenakshi (Anjali), a college student.
The caretaker is convinced that they have turned over a new leaf and discharges them. They go back to Chennai and soon a corrupt ex-MLA VBR (Manivanan), asks Sathya to get incriminating documents showing his involvement in the murder of a Collector (Sukanya), in the hands of Udayamoorthy.
In a melee when Sathya tries to get the documents, Udayamoorthy is accidentally killed. The government appoints his brother Encounter Ezhimalai (Nepolean) to investigate.
Soon due to prick of his conscience Sathya gives himself up and tells Ezhimalai the truth and they turn against the real villains. Sathya influenced by the Gandhian teachings goes on a fast in front of the Gandhi statue in a market place to get justice.
The film drags big time in the second half. All commercial ingredients like action, crass comedy, glamour- heroine's towel dropping act while the hero who has entered into her room peeps from under the bed!
The famous 'Khaike paan Benares wale.." (Amitabh's 'Don') song has been lifted by Srikanth Deva and picturised on Sundar and item girl Vindhya.
Malavika makes a brief appearance while Sundar- Vivek provides great fun as a comedy pair. Anjali has hardly anything to do while Nassar, Manivannan and Nepolean are presented as caricatures.
Like all Sundar C films, this one is also strictly aimed at the B & C audiences. It could have been far better if Udhayan had tried to explore the unknown instead of going through the same beaten track.
Verdict- Average

Ulliyin Osai- Movie Review

Movie

Ulliyin Osai
Director

Illavenil
Music

Ilayaraja
Cast

Vineeth, Sarath Babu, Keerthi Chawla, Akshaya

Debutant director Illavenil's Uliyin Osai with script written by Chief Minister M.Karunanidhi is a well chiseled period drama set in 1005 AD. It is a throwback to the 40's and 50's, when Tamil cinema had very capable script writers who could write in pure unadulterated Tamil.
The film is based on Karunanidhi's short story Saarapallam Samundi published in 'Murasoli', and written by him to be performed on stage to popularize the Dravidian movement in its early days. Karunanidhi's script is the real hero of the film. He has made it crisper to suit the taste of today's audiences, as there are no long drawn out dialogues that one associates with early Tamil period dramas.
Raja Raja Chozhan (Sarath Babu) and his son Rajendra Chozhan are benevolent rulers of the Chozha dynasty. As a mark of respect to the God's they want to build a temple in Thanjavur. They appoint the master sculptor Iniyan (Vineeth), a handsome young man who is also a good dancer to do the sculpture work for the big temple. But Iniyan finds the palace 'narthaki' (Akshay) not up to the mark and is unable to find the right girl to pose as the model for his sculpture work.
Meanwhile he meets a village girl Samundi (Keerthi Chawla) said to be the grand daughter of a shepherd woman (Manorama), who is not only beautiful but has an hour-glass like figure and dances like a dream. Iniyan slowly falls in love with his 'model', and when he expresses his love for her, she spurns it as she is the Queen herself! An absolutely shattered sculptor in a moment of remorse does something which is shocking and the real twist in the tale.
The director has mixed the film well with comedy and six beautiful melodies from Ilayaraja. The comedy between Manorama and Kovai Sarala is a delight, while Vineeth as the sculptor has come out with his best ever performance, Keerthi Chawla looks beautiful, while Akshay is just ok.
Kalaignar as the script writer has done a neat job of making a period film and that too a love story, strikes a chord with the viewers. And director Illavenil should be commended for not having any blood and gore, or item number thrust in to the film.

Subramaniapuram- Movie review

Movie

Subramaniapuram
Director

Sasi Kumar
Producer

Sasi Kumar
Music

James Vasanthan
Cast

Jay, Swathy, Ganja Karuppu, Sasi Kumar, Samudhirakani



Debutant director Sasikumar who has graduated from Bala and Ameer school of film making has come out with the stark realistic Subramaniapuram. It is a gritty and grim look at four youths growing up in Madurai who due to unemployment is forced by circumstances to turn into killers.
The film is set in Madurai of the 80’s, and made like a Quentin Tarantino style revenge-and-redemption saga. The background is the bonding between four unemployed poor youths- Azhagar (Jai), Paramar (director Sasikumar), Kasi (Kanja Karuppu) and a handicapped boy living in Subramaniapuram area. They do the odd jobs and strike a rapport with the ex-councilor’ Somu’s brother (Samudrakani), a wheeler –dealer. Azhagar, the romantist falls in love with the Somu’s daughter Thulasi (Swathy).
The Azgar- Thulasi romance creates a fissure in the gang. Meanwhile the councilor’s brother uses them to murder a party rival, promising they will be bailed out. Azhagar to probably impress the family, takes the lead in committing the murder. But nobody comes to bail them out, and the guys realize that they have been used by the political family. Now the gang from sheer admiration for the family turns into a revenge spree, which leads to a gory end.
Granted that there is not much of a story here but it is the slick way the film unfolds that keeps you riveted to your seats. Sasikumar has paid more attention to slick execution, innovative camera movements including top angle and tight close-up. The art director and costume designer has worked hard to give that feel and look of the Madurai of the 80’s.
The buildings, streets, posters, Central theatre screening Rajinikanth’s super hit, old black and white TV’s showing the only channel Doordarshan’s Oliyum Oliyum Ilayaraja music in the background, guys wearing bell bottoms or colourful Shangu mark Lungies and girls still in ‘Dhavani-Pavada’!
The music director James Vasanth also deserves a pat on his back for coming out with some retro music. His use of vocal and rhythms has resulted in some sweet melodies, and his background score heightens the tense atmosphere in the film. At times Vasanth has used just silence to convey the feelings of the characters.
However the film moves at a lethargic speed, too many friendship establishing scenes are forced into the narration. Another draw back is that the film is too bloody and gory. The scene in an auto where the villain’s head is slowly chopped off, like a butcher cutting the head of a goat has also a sound track of an aruvaal cutting the throat!
The actors mostly newcomers are ok, Jai as the romantic killer is the pick of the lot. The handicapped guy, hero’s mother, ex-councilor, temple festival contractor, and Samudrakani as the villain are not only realistic looking but also have made their characters work. Director Sasikumar as Paramar is a bit wooden, while Swathy is refreshing.
Sasikumar should be appreciated for making a bold and daring film, whose success will auger well for the industry. Subramaniapuram may be a bit brooding and dark, but still it’s worth taking a look.
Verdict: Above Average

Muniyandi Vilangiyal Moonramaandu -Movie Review

Muniyandi Vilangiyal Moonramaandu
Movie :Muniyandi Vilangiyal Moonramaandu
Director :Thirumurugan
Music :Vidyasagar
Cast :Bharath, Poorna, Ponvannan, Vadivel




Watching soap specialist Thirumurugan's latest Muniyandi Vilangiyal Moonramaandu (Muniyandi, Third Year Zoology), is as tiresome and irritating as watching mega serials continuously for two and-a-half hours!
Thirumurugan leaves you exasperated as the story is another episode of his last film (serial?) Emttan Mahan "all about father son relationship". The story is set in a semi rural college campus where there is a caste war going on, ignited by two local goons cum politicians.
Muniyandi (Bharath) is a jolly good fellow studying for third year Zoology, and is mad about Madumita (Poorna), studying in the same college and daughter of the local chief and caste leader Ramaiah, who prefers his caste men like Muni's father Muthumani (Ponvannan) to run the college canteen. In the college union election, the opposing caste led by Sivasamy causes havoc and college is closed indefinitely.
Meanwhile Madhumita's marriage is arranged by her father and for some strange reasons she tells Muniyandi, that he is only a "friend" and she was never in love with him! The hot blooded Muni slaps her with his slippers and sets her father's coconut grove on fire.
A caste war erupts, dark secrets of Ramaiah tumble out, lovers are separated, hero knows the bitter truth that his brother was murdered by the villain, all hell breaks loose.
It is a hoary movie plot. Writer, director Thirumurugan completely skewers the brain with his lack of knowledge in commercial film making. Lacking a coherent screenplay, he goes all over, and the film has a dumb climax.
Taste this- the hero and his father has survived the "Aruvaal" brigade of the main villain, the heroines dad who is killed by his own henchman. The hero's father suddenly says'- "Let us go and get Madhu (heroine)..", for that happy ending!
You end up feeling sorry for actors like Bharath and Ponvannan, both fine actors far superior to the film they are doing. Poorna does her role well, but should be careful not to imitate Asin if she has to create her own constituency. Vadivel as a witch doctor with bells attached to his hair and saffron clothing does the buffoonery effectively.
Two of the songs picturisation are cut and paste job. The hero introduction scene and song is a heavily inspired by Madhavan's Run introductory song, and the hero-heroine song in a Zoology lab is a straight lift from the Malayalam film Classmates. Vidyasagar's music is a letdown.
By the time the film has strayed into its last scene, you are past caring as it drives you mad. Let us hope Thirumurugan would go back to the small screen, and save us from such embarrassingly bad movies!
Verdict: Avoidable