Kumkuma poovum konjum puravum - Lovely but lengthy
 Novel themes, Newcomers and unique style of film-making with quick narration is the order of the day in Tamil cinema. Producer S P B Charan, known for introducing fresh talents has taken a bold move coming out with ‘Kunguma Poovum Konjum Pooravum’, which is gripping right from the word go. It is about lifestyle, culture and romance in a fishing hamlet in Muttam village near Nagercoil. Muttam needs no introduction for it has been the favourite place for directors like Bharathiraja, who shot several films there. Kudos to director Rajmohan who seems to have made the movie with some purpose. More than the story or screenplay, the extraordinary details that he has come out on screen about the fishing hamlet while chronicling their lives deserves a special mention. Carrying no tag behind them, each and every character, even those who appear in just a couple of scenes, leaves an impression with the audience. The major highlight of the movie is the lead characters who have underplayed their emotions, while Siddharth's lens capturing the dry sands of Muttam at its best. Yuvan Shankar Raja is back to his prime form rendering songs that suits the story and sticks to hearts instantly.  Rajmohan, seemingly inspired by the narrative styles of Cheran and Thangar Bachchan, starts the movie in a surprising tone. The male protagonist and the heroine dies. Then a flashback reveals the whole story. Thulasi (Thananya) comes to Muttam village along with her grandmother (Nagamma) after her parent’s desert her. She joins a government school in the village to pursue her studies. Enters Koochan (Ramakrishnan) who falls for her instantly. Koochan's mother Chandra (Agavamma) helps the poor Thulasi to pursue her studies. However coming to know about their romance, Agavamma insults Thulasi and her grandmother and drives them out of the village when Koochan is out on a school tour. A shocked Koochan returns back only to meet with a road mishap. Meanwhile, Thulasi, who seeks refuge in a family at Tuticorin is forced to marry a rowdy Drama (Tharun Chatriya). On the day of their marriage, he gets arrested by police. His wayward lifestyle invites trouble and he eventually gets arrested for murdering a youth. An annoyed Thulasi returns to Muttam only to see Koochan lost himself in liquor after his love failure. Meanwhile, Koochan resolves to set right Thulasi's life. But things take a turn when Dharma comes to Muttam after getting bail. Ramakrishnan, who resembles boy-next-door, suits the role well. He is no normal hero who looks good and runs around trees romancing. A real face among the crowd, he is an apt cast. Thananya with her simple looks lives Thulasi in the movie. She has done the role of a young girl, who had seen nothing but grief all through her life. She brings it out in her eyes well. Impressive are the two characters Chandra who plays the hero's mother and Nagamma, who is cast as female lead's grandmother. They leave their presence on screen well. But the scene-stealer is Tharun Chatriya. His character, reminding one of Parrattai in ‘16 Vayadhinilae’, makes it an interesting watch. He is right there giving his best. S P B Charan needs to be appreciated for gathering guts to do such a bold movie with newcomers and fresh talents. Though Rajmohan has ensured that he deliver something out-of-the-box, the cliched climax and few predictable sequence mars the flow. |
Mariyadhai - A Typical Vikraman's movie
 What happens when people of contrasting style come together for a film? Vikraman, the director known for his melodrama and Vijayakanth, who made a name for himself for his action-packed ventures team up to render an emotional drama loaded with a strong message. It’s more a ‘Vikraman movie’ with his typical sentimental dialogues and feel-good characters. Seemingly an extension of Vikraman - Vijayakanth’s earlier outing ‘Vanathaipolae’, ‘Mariyadhai’ too has ‘Captain’ playing a dual role – that of a father and son. As expected the senior shares more screen space and leaves a strong impression. Vikraman has not deviated a bit from his formula films of the past. The story is as old as that of ‘Adam and Eve’. Vikraman has woven the script around a happy and a most respected family in the village, which counters troubles. Eventually the male protagonist overcomes all challenges and rise up in life. It is all well that ends well. At a time when the grammar of filmmaking has touched new heights and technology has overtaken all departments of the industry, Vikraman still firmly believes that the best way to attract womenfolk to theatres is by churning out a cocktail of emotions and sentiments. ‘Mariyadhai’, which has all essential aspects of a melodrama, sadly looks a bit outdated and Vikraman ends up standing in an alien land. It is artificial and clichéd right from the first frame. The story unfolds in a small village near Pollachi. Annamalai (senior Vijayakanth) leads a contended life with his wife Alamelu (Ambika), his daughter Sumathy (Ammu) and his son Pichai (junior Vijayakanth). A caring a loving father, he even allows his son to change his name from Pichai to Raja, when he is made fun of by his friends when he was very young.  A respectable man in the village for his philanthropic activities, Annamalai gives enough liberties and freedom to his son Raja, who emerges out as an agriculture graduate. All troubles begin when Raja loses money by cultivating dates in the barren land owned by his father. Meanwhile an industrialist eyes the land for setting up chemical factory which is resisted by bother father and son. But Raja comes across Radha (Meena), a music teacher and he falls for her immediately. Raja’s wedding is arranged with Radha by elders of both the families. Couple of days before their wedding after Raja gives up his property to Radha only to bail her out of trouble little realizing that it was a conspiracy hatched by Radha to take away his land. Their wedding gets stopped. Raja vows to get back the land. Enters Chandra (Meera Jasmine) in Raja’s life. She comes to know of his bad past and vows to change his heart and marry him. Eventually it’s how Raja comes up in his life and marry Chandra. Vikraman can be appreciated has stressed the need for alternate farming in rural Tamil Nadu which is facing water shortage and also there are enough barren lands. Unfortunately the pace in which the movie progresses and outdated characters in the movie are its major eyesore. Vijayakanth hogs the limelight as father and a lovable son. It's a meaty role for Ambika after she chose to make a comeback recently. Meena looks totally alien in a negative role, while Ramesh Kanna tries to tickle the funny bone in vain. Sampath has been wasted in the role of villain. Meera Jasmine's dignified portrayal and natural expressions impresses. Vikaraman has brought outs S.A Rajkumar from ’Nakka Mukka’ man Vijay Anthony. Half-a-dozen ‘Vikraman type’ melody finds it place in the movie with the exception being the remix of “Idhayakani” song (Inbamae). Produced by T Siva of Amma Creations and presented by Raj Television network, ‘Mariyadhai’ is for ardent Vijayakanth fans. |
Guru En Aalu - Impressive in Parts
 Director Selvah proved his mettle as a shrewd film-maker, who can handle remakes well with ‘Naan Avanillai’. This time around he has tried to recreate the magic with remake of Bollywood hit ‘Yes Boss’, which speaks about greed for money and war of emotions. Though the movie dwells on money and romance, it does not proceed in a serious fashion. The film comes with a comic approach. A melodrama laced with humour, the whole story revolves around three principal characters played by Madhavan, Abbas and Mamta Mohandoss. Selvah has kept it simple and straightforward. It is an honest and sincere remake of Hindi hit. Unfortunately the major sore is that the Tamil version is more artificial and tacky. Guru (Madhavan) wants to start a company of his own. He works for his boss Krishna (Abbas), who is a successful entrepreneur leading a happy married life. But the major problem for Krishna is his playboy nature. Guru hopes that his boss will help him set up a company so that he can also become a boss and make money. Therefore he does everything to please him. Krishna falls for a model Seema (Mamta Mohandoss). Interestingly Guru also romances Seema. But coming to know that his boss is behind the girl, he decides to give up his romance to attain his personal goals. He goes hammer and tongs ensuring that Seema gets close with Krishna. But after a sequence of events, he realizes that he yearns and craves for Seema. Did he give up his love for making it big in life or go hammer and tongs to hold Seema’s hands forms the climax. Madhavan has played his character well. He has enough scope to display seriousness, sad, agony and joy. Though he played it with delicacy, at many places, he looks very alien for the role. Mamta Mohandoss has simply tried to do what Juhi Chawla did in the original. She has mimed her in body language and costumes too. Abbas as lusty boss has also done a wonderful job in this film. Vivek as Madhavan’s friend impresses in parts. His comedy in the company of M S Baskar is hilarious. He plays a woman resembling actress Saroja Devi is enjoyable. The rest of the cast include Brinda Parekh, Sona, Mayilsamy, Arthy and Renuka. If songs were the USP of ‘Yes Boss’, ‘Guru En Aalu’ has half-a-dozen numbers by Srikanth Deva which are far from being impressive. U K Senthil Kumar’s cinematography is a major solace in the movie. Produced by KRG, ‘Guru En Aalu’ is a more dramatized version of a simple theme, which fails to stick to our hearts. |
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1977 - Rewriting ‘his’ story
 Sarath Kumar and action seems inseparable. The actor, who has made a name for himself being part of action-packed ventures, has come out with a movie that is racy from the first frame. Ad man –turned – director Dinesh Kumar has tried to showcase Sarath Kumar as a ‘desi’ James Bond, who romances and fights hard (jumps from sky-scrapers, dives from helicopters, bashes group of baddies and shoots distant targets at ease). Donning a dual role that of a father and son is Sarath Kumar. However what is strikingly different in this routine commercial formula film is Dinesh Kumar’s sincere attempt to make it look stylish. In a nutshell, it is the story of a son taking cudgels against a gang of baddies in foreign soil to avenge the atrocities they had committed some three decades ago on his father. The movie begins at a fishing hamlet in Tamil Nadu where an elderly Rajashekar (Sarath Kumar) is worshipped as ‘God Father’ by many. His amiable ways of living won him many friends. His son Vettrivel (younger Sarath Kumar) is an acclaimed scientist. He is received with gusto by the whole village after he returns winning awards from Central government.  Unfortunately a glance at a vernacular on a new report on Malaysia shocks Rajashekar, who immediately develops cardiac arrest and dies. Vettrivel comes to know about the incident and decides to unravel the mystery behind his death. He sets off to Malaysia. Vettrivel gets acquainted with a local reporter Inba (Farzana), who falls for Vettrivel. With her help, he finds find out a disturbing truth about his father’s life. Rajashekar is former police officer in Malaysia who falls to the conspiracy of a baddie and arrested for no fault of his. Rajashekar eventually pays the price for being honest by losing his family and settles down in Tamil Nadu with his young son. In his quest to prove that his father is innocent, Vettrivel re-opens the case and gets the help of Chandhini (Namitha) a lawyer who is the daughter of erstwhile public prosecutor. He also finds his mother (Jayasudha) in the process. The rest of the movie is all but how Sarath Kumar rewrites history – proves that his father is innocent and avenge the bad elements. Sarath Kumar as usual excels in the stunt sequences. As a cop in Malaysian police, he is perfect fit. He is ravishing in formal outfits. He is right there singing romantic duets at catchy locales of Phuket. Namitha as usual oozes glamour, while Farzana is adequate. Vivek, who plays Sarath Kumar’s friend, fails to evoke laughter. The rest of the cast includes actress Jayasudha, veterans Vijayakumar and Radha Ravi. The movie, which has enough elements to appease action-lovers, has unfortunately a very weak screenplay. Events unfold in quick pace without any logic or conviction. But Dinesh has managed to sustain some interest towards the latter half. Vidyasagar’s music is a letdown as the songs fails to stick to hearts. Bubathy’s cinematography is good. The movie which has adrenaline-pumping action is advised strictly for those who love to see action films. With logic less stunt sequences and wafer-thin screenplay, 1977 is a let down. |
