Muniyandi

Rural rooster

Two cheers for Bharath and director Thirumurugan for playing a winning game for the second time. The Em Mahan duo, who dwelled on family relationships in their first venture, have made a similar attempt in their latest offing too, however with some major changes.


Set in the backdrop of a rural college, the script revolves around a student, who feels that he is trapped in the ego war of two men. When the battle wants to take toll of his love affair, the decision he is forced to take is Muniyandi Vilangiyal Moondram Aandu.


Be it portraying a typical rural institution or its students or their accents, Thirumurugan proves that he is second to none. The only thing that prevents him from emerging out and out triumphant is that mega serial feel which one can feel here and there in this film.


As we already said, Bharath is a college student, whose father is always at loggerheads with another senior man in the village. When Bharath falls in love with Poorna, the rivalry threatens to snuff out the hopes of love.


Very much aware that he is part of a dangerous game that has cost lives before, Bharath vows to join hands with his ladylove. On whose side is victory is the screenplay with choc-a-bloc twists and turns.


Bharath’s character goes through an emotional roller coaster. And his perfomance gels well with the story. Fresher Poorna is fresh and has done a neat job. Ponvannan as a father proves his mettle. Though Vadivelu tries to tickle the funny bone, it ends up in quagmire.


Technically, there is nothing much to mention except Vidyasagar’s music. Quite like Thirumurugan’s Metti Oil, Muniyandi too will sounds nice among women folk, not talking about men and youth in the so called B and C centres.


Muniyandi Vilangiyal Moondram Aandu – Muniyandi Vilas

Alibaba

Dhanam

Different yet diminishing

Cinema is a powerful medium beyond any doubt. Any idea propagated through films reaches the audience easily and makes considerable impact in their minds. And handling it in a right way is a tough job. Has cinematographer-turned director Shiva, who dealt with a difficult subject in Dhanam, emerged triumphant?

Well, it is a million dollar question which needs to be debated, for the film shows a particular community in bad light, one has to say. The movie may also spark criticism and brickbats, thus bringing more attention to it.

As the title suggests, the film's protagonist is Dhanam (Sangeetha), an acclaimed ‘Dhasi’, who is committed to her profession. Falling in love with her is a regular customer who happens to be a Brahmin.

He marries Dhanam and takes her to his hometown where his family members vehemently oppose to the wedding. However, they accept Dhanam, only after an astrologer (Kota Srinivasa Rao) predicts that she would bring wealth to them.
The reason behind the astrologer’s words is that- he once tries to sleep with Dhanam, but fails in his effort due to monetary reasons. Even as he pressurizes Dhanam to succumb to his intensions, she faces similar problems from her in-laws too.

At one point of time, Dhanam takes a bold decision and returns back to her profession. What forced her to decide so is the knot of the movie.

Sangeetha goes a bit overborad in her attempt to touch reality. Ilayaraja’s music is a major strength to the movie, though the songs remind some of the yesteryear numbers. Cinematography by Jeeva, who passed away while shooting his directorial venture Dhaam Dhoom, is clean and clear.

The director could have avoided controversial scenes to make the movie a welcome addition in the genre of ‘different films’.

Dhanam – Sorry tale

Kuselan

Of and for Superstar

Why Rajini has not entered politics?
Why the Superstar often goes to Himalayas?
Does Rajini impose his ego on others?

Kuselan has got the answers for all the above questions. Besides, it has also come out with a message- 'Matha Pitha Guru Nanban Deivam', which is soon going to be the slogan of millions of the top actor's fans.

At the very outset, Rajini needs to be lauded for trying his hands in a soft and emotional drama, at a time when the entire filmdom is celebrating him as the undisputed action hero.

And next in the line to bag kudos is director P Vasu, who has neither compromised with the story nor succumbed to the stardom of Rajini. He has presented an interesting film, which will suit the taste of both critics and die-hard fans of Rajini.

Talking about the story, it is a honest 'copy' of the Malayalam original Kathaparayumbol. It is about two childhood friends, with the one becoming the numero uno in film industry, while the other lands up as a barber in a hamlet.

When the two meet after a long gap, the emotional drama between the pals is the 20-minute climax, in which Rajini proves him as an actor after decades, leaving the audience spellbound with his stunning performance.

Kuselan has many things going for it and chief among them is ---Rajni's undoubted charisma and magical screen presence. He has an aura and attraction that is unmatched on Tamil screens. Even if his style and mannerisms have been seen before, they still strike a chord.

Pasupathy is top-notch; perhaps his best performance to date. Nayantra as Rajni's pair turns up for songs and acts with ease and charm. No surprises there. Vadivelu, as a barber evokes laughter while Meena scores well as Pasupathy's wife.

The songs are eminently hum-worthy and G V Prakash's music all through is fresh and fits the bill.

Kuselan, on the whole, will surely the join the long list of Rajni's super hits.

Kuselan- Kudos

Daam dhoom

Daring, dashing

Though the fact that director Jeeva is no more haunts us when Dham Dhoom starts, its racy pace, stunning visuals and soothing music make us to gell with the movie, not to forget about the twists and turns the script has got.

Apart from positioning Jayam Ravi as an action hero, the film also throws a challenge to Hollywood movies, as far as stunt sequences and cinematography are concerned.

The story revolves around Gowtham Subramaniam (Jayam Ravi), a medico, who goes to Russia to attend a conference. There he is arrested on the charges of murdering a girl, a crime which he has not committed actually.

With language becoming a major barrier, Indian Embassy comes to Gowtham's rescue by appointing an officer Raghavan (Jayaram) and an advocate Aarthy (Lakshmi Rai).

However, Gowtham escapes from the cops to crack the case himself. With Aarthy by his side, he finds out that Raghavan is the real culprit. How he bring things to light is what Dham Dhoom is all about.

Jayam Ravi plays the lead role with ease and elan. Kangana Ranaut as his fiancee and Lakshmi Rai as his rescuer support the film. But the surprise package is Jayaram, who has perhaps for the first time donned a role with grey shades.

Music by Harris Jayaraj is a major strength to the movie. Jeeva's camera brings before our eyes visuals that we have never-seen before. In short, Tamil cinema will miss the cinematographer-director a lot.

Dham Dhoom- Adieu Jeeva

Vallamai tharayo

Partly energising

Seemingly inspired by Maniratnam’s Mouna Ragam, Madhumitha, who is making her foray into Kollywood as a director has dished out a melodrama, which portrays the emotional battle of a woman between her husband and lover.

While powerful dialogues and quick turn of events help the audience to stick on to the screen, a sense of dejavu too prevails, thus making them to feel like watching a megaserial on big screen.

However, the debutant director deserves pat for not coming out with a run-of-the-mill kind of movie with commercial compromises to cater to the needs of distributors and other stake holders of film industry.

Anand (Parthiban) and Nandita (Chaya Singh) are newly married. However, Nandita, who loves her aunt’s son is unable to forget him and wants to split with Anand. She obtains a divorce and begins to lead an independent life. But Anand sets out on a mission to convince her and start life afresh. Does he succeed forms the crux of the film.

Parthiban is tailor-made for the character. He deserves special mention for his witty dialogues and body language. Chaya Singh springs surprise by effeciently essaying the role. Srikanth plays a cameo.

Music director Bharadwaj has come up with a commendable performance in a couple of songs. On the whole, though Vallamai Tharaiyo has missed out some tricks on the entertainment part, the director’s commitment and hard work deserve a pat, considering the fact that she is a fresher.

Satham

Partly kept promise

Perhaps having in mind that this film marks the direct entry of Vishal in Telugu (his earlier movies were just dubbed), Rajasekar, the director of Sathyam has apparently taken painstaking efforts to convince the masses of Andhra Pradesh, than those in Tamilnadu.

As a result, this much hyped movie becomes a mediocre show, thanks to stunt sequences that were dragged to show the prowess of Vishal and the so-called spicy dialogues which are again targeted at Tollywood fans.

In addition, many of the scenes remind you those from yesteryear blockbusters, with the comedy part (a straight sequel of Indian) and the climax (where the general public utter clichéd dialogues we have seen in many a movie) standing testimony to it.

However, there are other things which deserve a mention, including the hardwork of Vishal to position himself in a cop’s shoes, a couple of stunt scenes and some dialogues which throw light on the corrupt political system.

Coming to the story, Assistant Commissioner of Police Sathyam (Vishal) is asked to solve the mystery behind the brutal killings of Ministers. When he zeroes in on the culprit, the upright cop receives a rude shock as it is none other than a former police officer, who inspired him to wear the khakhi uniform.

Revealing the reason behind his killing spree, the ex-cop (Upendra) says he failed to set things right as a police officer and hence took a decision to bump off baddies after quitting the job. However, Sathyam, a staunch believer of law (‘sattamum samiyum onnu’), throws a challenge at him that he would put the wrongdoers behind the bars with the help of the long arms of law.

He also vows to end the atrocities of senior Minister Kondal Dhasan (Kota Srinivasa Rao), who wants to become the Chief Minister of the State. Had he succeeded in his mission is the remaining part of the movie which also has a romantic episode with Deiva (Nayantara), a reporter of a television channel.

As we already said, Vishal fits well in a cop’s uniform. Nayanthara fails to leave a mark except in the song Chellamay. Kota Srinivasa Rao, Ravi Kaalai and Upendra, the imports from the neighbouring States help the movie to maintain tempo.

There is nothing much to say about Harris Jayaraj’s music while R D Rajasekar’s camera work deserves special mention. To conclude, Sathyam, which has been simultaneously released in Andhra as Salute, has all ingredients to become a blockbuster in the Telugu land.

Sathyam – Truth never dies

Saroja

From six to century

If Chennai-28 was a sixer from director Venkat Prabhu, his second venture Saroja is a century, for the movie is fully loaded with all necessary ingredients, which could make the audience glued to their seats from beginning till end.

Even after the climax is over, there is something with the director to serve, and he carefully ensures that no loopholes are left. Giving strength to him is Yuvan Shankar Raja, whose songs and background score play a lead role in the movie.

The story has been written in a way so that it unfolds in the morning, happens throughout the night and ends in the next day morning. Four friends Jagapathi Babu (S P Charan ), Ganesh Kumar (Premgi Amaren), Ajay Raj (Shiva) and Ram Babu (Vaibhav) go on a trip to Hyderabad to watch India-Pakistan cricket match.

Meanwhile, Saroja (Vega), the only daughter of a rich entrepreneur Vishwanathan (Prakashraj) is kidnapped for a ransom. Helping Vishwanathan is Ravichandran (Jayaram), a longtime friend and a top police officer.

Elsewhere, thanks to a tanker mishap on the National highway they go, the four youngsters take a short route through a jungle, where the gang that kidnapped Saroja is staying. They rescue Saroja and escape from the forest, only to receive a rudeshock.

What is the sudden twist? Are they into more trouble? If yes, did they overcome it is the rest of Saroja, a taut thriller which Tamil cinema has not witnessed in recent times.

All the four lead actors play their roles with enough understanding. However, Premgi steals the show with his usual but interesting punchlines. Prakashraj and Jayaram, both veterans, add value to the movie. Nikitha has been used for oomph factor while fresher Vega emotes well.

Shakthi Saravanan’s cinematography does the deserved magic. Crisp editing by Praveen K L and Srikanth N B makes the movie more interesting. To conclude, Saroja is a must-watch for those ready to spend time for some quality entertainment.

Saroja- Shines bright

Poi solla poram

Yours truly
The message is straight and simple. Poi Solla Porom, tells us, through delicious tongue-in-cheek satire, that it's okay to use unfair means to get what's rightfully yours.

It’s not an easy job to remake comedy movies. However, director Vijay has emerged triumphant in Poi Solla Porom, a honest remake of Bollywood flick Khosla Ka Ghosla.

When Nedumudi Venu loses his precious plot of land to real estate bigwig Nasser, he plans along with his sons Karthik, Omar and daughter Justina to get it back. Helping them out is Karthik’s girlfriend Piya, her father (Mouli) and their team, running a drama group. The entire group plays brilliant tricks against Nasser and wins back their lost properties.

The film is straightforward in its depiction of the working-class stress. It is done so simply that you tend to miss the immeasurable amounts of unassuming talent and comedy that underline almost every scene of this remarkable film.
The narrative captures the muddle and poignancy, irony and humour of the middleclass through a storytelling device where less is always more. A delectable understatement underlines almost every character's propulsion in this film about how to lose the plot to gain a much larger plot.

All the actors perform like our next door neighbours. Such is their attempts to come out with reality. Director Vijay fills the narrative with sharply cut incidents and episodes of an ordinary family caught in an extra-ordinary crisis. Apart from a few deliberately thrust thematic songs, music director M G Sreekumar (noted singer in Malayalam) economises on the drama to focus on the characters and their quirks.

On the journey to PSP's happy ending, we encounter characters like someone you've met in that long journey called life.

Poi Solla Porom – Laugh riot

Pandayam

Losing bet

Completely and conveniently forgetting something called logic, ‘ace director’ S A Chandrasekharan has come out with Pandhayam, with a sole aim of promoting his son Vijay as an undisputable power.

Though the movie has Vijay playing a cameo, it is ensured that Nithin Sathya, the protagonist of this film sings paeans on the actor, right from the beginning till the end. And even in the scenes where Vijay appears, he utters dialogues that he is fighting for the cause of the poor and downtrodden and his sole aim is to createa clean Tamilnadu.

Not to forget the story, Sathya (Nithin Sathya) falls in love with Sindhu (Sindhu Thulani), sister of a ‘rowdy’ Minister Masanam (Prakashraj). And the remaining is the cat and mouse game between Sathya and Masanam and how the lovers get united.

Nithin Sathya plays the solo lead for the first time. As a Vijay fan, he romances, fights and glorify his favourite hero. Prakashraj is vociferous and speaks a lot. Sindhu Thulani just has to run around trees and romance Nithin Sathya, while Radhika provides the much needed relief with her performance.

Patience of audience is tested in the name of comedy. A couple of remixes of pop singer Ceylon Manohar’s songs by music composer Vijay Anthony are worth listening to. On the whole, Pandhayam is a bet not worth placing.

Pandhayam – Not a winning game

sakkarai katti

Candyfloss cute

If Bhagyaraj’s style of reaching the masses was a straight forward screenplay and earthy scenes in a film of a small budget, his son Shantanoo takes a suave route with a candyfloss love story. Joining hands with him is director Kalaa Prabhu, son of producer Kalaipuli Thanu.

The two celebrity kids have come out with a costly end-product, a triangle love story, which is nothing new to Tamil cinema. The film runs for just two-hours, without unnecessarily dragging the content.

Yuvaraj (Shantanoo) goes to college, where he meets Deepali (Ishita Sharma) and falls in love. Enters the ‘mora ponnu’ Reema (Vedhika), who falls for him. Soon the affair between Yuvaraj and Deepali is on rocks, thanks to some unintentional acts of Reema.

Common friends conjure up an idea which would necessitate all the three people come together in a birthday party. Do the lovers come together again or does Reema's pure-love succeed is the crux of Sakkarakatti.

Shantanoo tries to replicate Sharukh Khan in many scenes. However, the fresher passes the test. Vedhika is set to win a round of applause while Ishita Sharma emotes well.

The major asset of the movie is A R Rahman’s music, with Taxi Taxi….. already topping the charts. Overall, Kalaa Prabhu’s maiden venture lives up to its title, if we are ready to forget some logical potholes.

Sakkara Katti – Sweet

Jayam kondan

Not in flying colours

Crisp dialogues, clean camera angles and slick narration. If these are the things that come to your mind while thinking about a Manirathnam film, think again.

For, his former associate Kannan too has come up with a similar entertainer, which reminds his mentor in many a frame. And the storyline too seems to be a takeoff from Agni Nakshatram, in which Mani portrayed the emotion and feelings of two brothers.

Arjun (Vinay), who wants to sell his father's property at Madurai to start a business, comes to know that his father has a daughter through an extramarital relationship.

While his half-sister Brindha (Lekha Washington) too claiming ownership for the property, Arjun involves in a minor scuffle with local bigwig Guna (Kishore Kumar), in which the latter's wife is killed.

Holding Arjun responsible for the death, Guna runs behind him. How Arjun emerges triumphant with the help of his friends (Krishna and Vivek) is the rest of the story. Meanwhile, the protagonist also has a romantic episode with Poorni (Bhavana).

After Unnale Unnale, Vinay gets to play a strong role which has enough opportunity for him to perform. However, he fails to score in dance and fight sequences. Giving him good company is Bhavana. VJ-turned-actress Lekha has enough screen space and utilised it properly.

Vidyasagar's music is of average with just a couple of songs are hummable. Produced by T T G Thiyagarajan for Sathyajothy Films, Jayamkondan would have been impressive, had the director took a cue from his mentor in storytelling too.

Jayamkondan - Break journey

Durai

Commercial king

There is an emperor who decides to announce his loyal and honest commander as the successor. Unable to stomach this, his ambitious son kills him and puts the blame on the commander and also murders his family. However, the commander rises through the ranks and avenges the murder of his family and the emperor.


If the above lines remind you Russell Crowe’s Gladiator, it’s not our mistake. For, Arjun’s habit of watching Hollywood movies has made him to pen a script heavily inspired by the blockbuster, which won five Academy Awards. The only thing you have to do is to replace the word emperor with Chief Minister and commander with a loyal follower.


When Arjun himself is known for commercial ventures, what would happen if director A Venkatesh, the master of masala movies joins hands with him? Well, you have to watch it on screen, for Durai is an apt example for how a racy knot could be presented with hardcore masala stuff, which becomes overdosed at times.


The main strength of the movie is Arjun’s physique, which still competes heavily with gen-next actors. Vivek’s comedy is a major letdown, while heroines Kajala and Keerath have nothing much to do.


D Imman has remixed ‘Raja…Rajathi Rajanindha Raja’ perhaps to remind the audiences that the film is inspired by Gladiator. Otherwise, Durai reaches the destination, that is, an out and out commercial flick sans logic.


Durai- Masala man

Nayagan

No hero, no zero

After a miserable show in Kaanal Neer, J K Ritheesh, known for his ‘philanthropic activities’ has come out with Nayakan, another movie inspired by the successful Hollywood flick Cellular. Surprisingly, the film is good in parts and will help the actor establish himself in Kollywood.

Though a major portion of the original has been retained, director Sharavana Shakti has made some changes to suit Tamil audience. In other words, he has done justice to the screenplay by producer Vijayakumar Reddy.

The story is so simple that you can write it on the back of a train ticket. A young man (Ramana), who receives a phone call from a kidnapped woman (Sangeetha), takes the responsibility of rescuing her and saving her family. Helping him is the ‘super cop’ Ritheesh, who has been portrayed as a larger-than-life hero with elements like dance, fight and punch dialogues to boot.

Ramana is the surprise package while movie belongs as much to him as Ritheesh. Sangeetha does a good job as a terrified doctor and Keerthi Chawla has nothing much to score. Vaiyapuri makes you laugh, sometimes. Anandraj, the veteran villain does a neat job here as well.

Maria Manohar's music is predictable while the camera angles are really good. Stunt sequences are a major asset to the movie. The film might have been more interesting, had only a lengthy second half and overambitious stunt sequences been avoided.

Nayakan- Good in parts

kadalil vizhunthen

Love is blind and bold

Perhaps inspired by films like Guna, Kadhal Konden and 7 G Rainbow Colony, debutant director Prasad has come out with a romantic thriller, which portrays the life of a youth,whose love can't be expressed in words.

Though the film is violent in parts, Prasad succeeds in chronicling emotions, and presents it an interesting package, that too with lesser known faces in the lead.


Sabha (Nakul) accidentaly meets Meera (Sunaina) and both fall for each other. However life takes a U turn when Meerai dies suddenly.


Not ready to believe this, Sabha slips to his own world. He flees from Chennai with Meera's body hoping that both would lead a happy life beyond the reach of everyone.


However, the police is behind Sabha. What follows is a gory climax in which Sabha gives up his life after a score of murders.


Director Prasad triumphantly tells that romance can do wonders in a man's life. Giving him ample support is Vijay Anthony, whose songs and background score are the unseen heroes of the film.


Produced by Umapathy by joining hands with Sun Pictures. Kadhalil Vizhundhen is a movie with strong portrayals.


Kadhal Vizhundhen - Love and love only

Mudhal varai

Filled with freshness

What else than a different attempt can one expect from a film maker, who had apprenticed under Manirathinam and cinematographer P C Sreeram? Debutant director Krishna Seshadri Gomadam treads a different path in his suave M3V, which is made for an elite crowd that throng multiplexes.

The story has nothing new in it. But the way it is presented makes all the difference. A sophisticated, closer-to-life narration about today’s city youth deserves credit. Their struggles and travails have been told in a lighter vein.

Hayagreev (Satyajit) wants to make a mark as a film maker. In the meanwhile, he falls in love with Sindhu (Anuja Iyer), who is counting her days thanks to a chronic heart disease. However, she decides to marry Hayagreev on the condition that he should direct a film first.

After several disappointments, he eventually finds an offer. But fate has something else in store as Sindhu’s condition becomes serious and she slips into a coma. What happens next is told in the rest.

Fresher Sathyajith, the son of dancer couple- the Dhananjayans, is spontaneous in his emotions.

Equally appealing is Anuja Iyer. Debutants Charan, Vidya Eswaran, M V Sriram, Murari and Keevna impress with their performances.

The intelligent use of M S Subbulakshmi’s Kurai Onrum Illai by Aslam Mustafa deserves special mention. Fowzia Fathima’s cinematography is colourful. All in all M3V is an experiment that is worth a watch.

Raman thediya sethai

Filled with freshness

What else than a different attempt can one expect from a film maker, who had apprenticed under Manirathinam and cinematographer P C Sreeram? Debutant director Krishna Seshadri Gomadam treads a different path in his suave M3V, which is made for an elite crowd that throng multiplexes.

The story has nothing new in it. But the way it is presented makes all the difference. A sophisticated, closer-to-life narration about today’s city youth deserves credit. Their struggles and travails have been told in a lighter vein.

Hayagreev (Satyajit) wants to make a mark as a film maker. In the meanwhile, he falls in love with Sindhu (Anuja Iyer), who is counting her days thanks to a chronic heart disease. However, she decides to marry Hayagreev on the condition that he should direct a film first.

After several disappointments, he eventually finds an offer. But fate has something else in store as Sindhu’s condition becomes serious and she slips into a coma. What happens next is told in the rest.

Fresher Sathyajith, the son of dancer couple- the Dhananjayans, is spontaneous in his emotions.

Equally appealing is Anuja Iyer. Debutants Charan, Vidya Eswaran, M V Sriram, Murari and Keevna impress with their performances.

The intelligent use of M S Subbulakshmi’s Kurai Onrum Illai by Aslam Mustafa deserves special mention. Fowzia Fathima’s cinematography is colourful. All in all M3V is an experiment that is worth a watch.