Vijay turns producer

IndiaGlitz [Friday, August 06, 2004]

Vijay is soon to launch his own production company. Named after his son Jason Sanjay the first film will be directed by Ramana. Ramana directed him in Thirumalai, which was a comeback film for Vijay. Despite Ramana giving a flop with Sullan, Vijay has decided to give the director a major break. Meanwhile Vijay’s Madurey is likely to be released only by August end since they do not want to clash with Vasool Raja MBBS scheduled for August 12.

Trisha rebuts 'Gilli'-fed gossip

IndiaGlitz [Tuesday, July 27, 2004]

Popular Tamil-Telugu heroine Trisha has had to rebut several rumors at the same time. In an interview with the mass-circulation Tamil weekly Kumudam, the actress attributed the rumors to the phenomenal success of "Gilli", starring her and Vijay. The first and the most predictable rumor was about her relations with Vijay. "We are just friends," was her equally predictable reply. She added that the source of the rumor was a joint party in a big Chennai hotel to celebrate Vijay's success in "Gilli" and her own birthday. Another rumor was that she had driven her father out of her home, as she found it infra dig to live with a man working at a hotel. On the contrary, she said, she was proud of her father Krishnan holding a good post in Benz Park Hotel. Her mother too is working as an executive with Apollo Tubes. A third rumor, also hotly denied by Trisha, was that she attempted suicide. A fourth, and obviously false, rumor was that she had actually died!

Ghilli’s record break

IndiaGlitz [Saturday, July 24, 2004]

Ghilli which reaches it’s 100 day mark on July 25th has so far collected Rs 30 crores from all centers. The film’s collection in the first four weeks from Chennai alone was to the tune of Rs 1.60 crores. The film released all over the State met with unprecedented response. The film according to distributors has overtaken Autograph and Padayappa collections. With the response from theatre and distributors being good, Vijay now has a long list of producers waiting with Rs 4 crore to book him. He has signed only Super good film'’ Thirupachi. It is a film about the violence taking place in a village Thirupachi located in Madurai- Ramanathapuram districts. Currently he is working in Madhura directed by Madhesh (associate of Shankar). Madhesh who is also the producer is leaving no stone unturned to make the film a big extravaganza. The success formula that Vijay learnt from Ghilli is that he should mix action with comedy like Rajnikant for a box office success. Already he has proved his supremacy in dancing and his ability to execute action scenes without a double. Now in Ghilli his ability to do comedy has been brought to light. Apart from the fast screenplay the film boasts of songs aimed for the mass. The Apidi podu podu song along with other fast numbers and good choreography has made the film a big hit. In Madhura he plays a vegetable vendor in Koyambedu market. Despite the long queue of producers Vijay has decided that he will not take any signing amount till the subject is ready. Next year beginning he will sign Kalaipuli S Dhanu’s film if the subject is good. For Thirupachi the costar is Trisha. Vijay who is now enjoying the much-deserved success with his family in London has not forgotten to pay due credit to director Dharani. Dharani has been presented with a swanky imported car. Incidentally Thirumalai remade in Telugu as Gowri with Sumanth- Charmy in the cast is ready for release.

Eradicate Child Labor : Vijay

IndiaGlitz [Thursday, June 24, 2004]

Vijay called for eradication of child labor. In the morning he was greeted by his mother Shoba at the Kalayana mandap named after her. The actor drove in with his wife Sangeetha. S A Chandrashekhar , Vijay's father too greeted him. Later speaking to the media he felt that the children whose parents are not educated are the cause for child labour. He cited the observation of President Abdul Kalam that a country will not be a developed nation without attaining complete literacy. Later in the evening he attended a function for his fans. Cake was distributed to all. Vijay sang two numbers from Ghilli. Then he gave helping aids to the handicapped and mentally challenged persons and undertook to bear the entire education expenses of a top ranker in the plus two exams.

Vijay causes stampede

IndiaGlitz [Wednesday, June 23, 2004]

It was no ‘mela’ but a matinee idol that created a stampede in the temple town of Madurai the other day. Several members of the Vijay Fans' Association received bruises, lost their chappals and got their dresses torn as the police resorted to a lathi charge to control the mob that had gathered to witness the shooting of the film 'Madura' in front of the Meenakshi Amman Temple in Madurai Tuesday. Police said the film producers did not inform them about the shooting of a scene in which Vijay, who acts as a police officer, holds discussion about a law-and-order problem (yes!) with a junior official near the temple. As the scene needed a crowd, members of the association had gathered at the venue. According to the police, suddenly the crowd swelled. There was a stampede which called for police action. According to the association office-bearers, the film producers had sentimental attachment to Madurai since several successful films including 'Gilli' were shot here.

Platinum Disc for Vidyasagar

IndiaGlitz [Tuesday, June 15, 2004]

Music director Vidyasagar is on a roll. His tunes in Ghilli have climbed the top of the charts. The busy music composer shares an excellent rapport with producer A M Rathnam. Vidyasagar's scintillating music for Rathnam's movies - Run starring Madhavan, Dhool starring Vikram and the recent Ghilli with Vijay in the lead have been a major contributor for the success of these movies. As a move to honor the music director, Rathnam organized a mega function in Chennai on Sunday during which Vidyasagar was presented a platinum disc.Rathnam hailed Vidyasagar as a hardworking person who had the ability to come up with good tunes anytime. Among those who took part in the function were actors Vijay, Prakash Raj, actress Trisha, director Dharani and Five Star Audio proprietor Kalyanam.

Ghillli, April 17th, 2004

http://www.hinduonnet.com/thehindu/fr/2004/04/23/stories/2004042301450300.htm

"Ghilli" ... on a winning track

IT'S ACTION unstoppable and a sure hat trick for Dharani. "Dhil" took off at break-neck speed and went on in the same vein till the final frame, "Dhool" followed a similar fast track course and now again "Ghilli" begins, moves and ends on an incredible top gear.

For the finicky and the fastidious the happenings are bound to be unrealistic and even impossible but for the man on the street, who enters the cinema hall looking for sheer high velocity action, screenplay writer and director Dharani's "Ghilli" provides a sumptuous three-course fare.

The mind-boggling pace, however, sets in with Prakashraj's entry. Ghilli is the nickname for the popular kabbadi player Velu (Vijay). His father (Ashish Vidyarti), an assistant police commissioner, is a martinet who finds his son (who still has his arrears to clear before he gets his degree) incorrigible. His mother (Janaki Sabesh), on the other hand, dotes on him. His younger sister Bhuvana (`Baby' Jennifer) is the typical sharp and inquisitive schoolgirl. Velu goes to Madurai for a kabbadi match. But circumstances force him to lend a helping hand to Dhanalakshmi (Trisha) who is fleeing from the cantankerous Prakashraj, a State Minister's son, madly in love with her.

From then on it is a hectic run for the two with Prakashraj and his henchmen, who seem to be teeming all over the place, close on their heels. The role is like any other you've seen him do in ever so many flicks. The names of the films may change but Vijay has been the same. But in this Sri Surya Movies' production, the portrayal as a whole is on a different plane. Righteous anger, affection for the family, soft romance and agility on the playground, show us a different Vijay. The hero has portrayed the part with finesse and feeling.

Trisha is not a mere glamour doll in "Ghilli." Agony, ecstasy, sense and sentiment are expected of her and she manages quite well. Ashish and a soft character, you think, just wouldn't jell. But no, he seems quite comfortable playing the strict dad. Jennifer is impressive. But the actor who steals the show with nonchalance is Prakashraj, as the eccentric, middle-aged doter Muthupandi, who is willing to go to any length to get his sweetheart. Some may brand it as overacting and a few may find him crude, but with his villainous glare and comical gimmicks, Prakashraj emerges as a formidable drawing force - you just cannot hate this `bad man.'

Enthused by `Ghilli's mood, composer Vidyasagar has filled up his score with racy beats and reverberations - sorry, melody has no place in this fast paced venture. Dances are equally speedy, and Nagendra Prasad's (the hero's friend) footwork equals Vijay's. Crisp cutting of scenes bears testimony to veteran V. T. Vijayan's editing skills. Not very realistic, yet artistic are Maniraj's set designs. Gopinath's camera effectively captures the quick actions. `Rocky' Rajesh's stunt conceptions are commendable despite the unbelievable somersaults in the air. But at times the action looks so dangerous that they bring you to the edge of your seat.

Dharani does not depend on duets (there's just one), item numbers or a weather-beaten comedy line (Dhamu's idiosyncrasies in the name of humour cannot come under this category at all) to pep up his screenplay. But if he thought making Hindu Gods appear with mobile phones and the like makes a song sequence humorous (!) sorry Dharani, it's not in good taste.

With his finger right on the pulse of the viewer, and Vijay, the hero whom the masses today identify with, and Prakashraj, the inimitable villain in tow, this remake of the Telugu flick, "Okkadu," comes a clear winner.

Udhaya, Mar 28th, 2004

http://www.thiraipadam.com/cgi-bin/movie_review.pl?id=358&user_name=bbalaji&review_lang=english&lang=english

Like Virumbukiren, Udhaya is another movie that has had a long and torturous journey from production to release. Launched way back when Vijay and Simran were a hot pair, the movie was stalled for various reasons. Its director Azhagamperumal has since made two reasonably successful movies Dum Dum Dum and Joot and its producer 'Pyramid' Natrajan recently had to go to court to get a married Simran to finish up the song sequences required to complete and release the film. Not surprisingly, the movie has aged considerably and has continuity issues but unfortunately, those are not its only problems.

Udhayakumar(Vijay), who has rejected a scholarship at the prestigious Princeton University in order to serve his country, joins as a substitute teacher at the same college he studied in. In one of his experiments, he successfully generates a controlled nuclear explosion that he believes will be the source of power in the future. He falls for Basandhi(Simran), one of his students but soon comes to know that she is engaged to be married. Dejected, he moves to Chennai and finds a job as a reporter at a magazine. He is recruited by a group with a charismatic leader(Nasser) who promises social change. Towards that end, the group convinces him to build a bomb that can be safely stored and moved in any form.

One of the positive aspects of the movie is that the way the story proceeds belies our initial expectations. With Simran, who is unhappy with her engagement, her aunt who wants to make Simran her daughter-in-law in order to get her hands on her wealth and Vijay, who falls for Simran without knowing that she is already engaged, the movie sets us up for a love story along the lines of Kaadhal Mannan or Vijay's own Vaseegara. But the movie switches tracks completely, catching us a little offguard. As it brings in the revolutionary group, it becomes more an action movie than a romance.

But it is the same switch in tracks that proves to be the movie's undoing too. As long as the movie revolves around romance and life in the village, it proceeds smoothly even if predictably. But whenever the movie jumps to science, it is on terribly shaky grounds. Right from Vijay's experiment in the lab(he picks up a small globe out of a beaker, watches it explode along the lines of a Diwali cracker and jumps in joy on having generated a controlled nuclear explosion that is supposed to be tomorrow's source of power!), the movie's take on anything scientific is laughably amateurish and silly.

Vijay appears rather uninterested most of the time and looks like he himself doesn't believe that he is a scientist. He must be really glad Gilli came along soon after to erase this movie from people's minds. Simran too reflects VIjay's disinterest and looks particularly old and washed out in the two recently filmed song sequences. Nasser does a neat job as the group leader. Vivek is wasted in a role that has little scope for comedy. None of Rehman's tunes are real catchy.

Thirumalai, Oct 24th, 2003

http://lib1.store.vip.sc5.yahoo.com/lib/ks2/Anytamil0Thirumalai.htm

Thirumalai (Vijay) is a two-wheeler mechanic who lives in Pudupet and has three close friends for whom he would do anything. Raghuvaran is an artist who comes to stay near Tirumalai’s mechanic shop with his wife Nagalakshmi (Kousalya). Thirumalai happens to meet Swetha (Jothika), on a New Year’s Day. As she appears in front of him all of a sudden, she happens to greet saying ‘Everyone will do fine’. From that very day, things start to shine up in Thirumalai’s life. He falls in love with Swetha as he thinks that good things started to happen in his life only after she greeted him.

Swetha first ignores him, but soon she understands his nature and reciprocates. Meanwhile Swetha’s father (Avinash), a business tycoon who owns six satellite channels hates the idea of a mechanic being his son-in-law and seeks the help of a local thug Arasu (Manoj.K.Jayan) whose only job is to kill people for huge money. Arasu plots an attempt to kill Thirumalai. Does Thirumalai succeed in winning his girl or is he caught up in the plot against him forms the rest of the story.

Vijay presents the character that has a quite a few fine distinctions, creditably. Vijay, who generally does not believe in exerting himself too much in the emotions department, (there are a couple of exceptions though), has made a laudable effort. When he comes to know that Arasu’s men have kidnapped all his friends, Vijay's anguish over the incident have been well outlined by him. Jothika is as fresh as she was in Kushi and delights the audience with her dances especially Dhimusu Kattai number.Kiran comes in an item number Vaadi emma jakkamma.

There is nothing new in Vivek’s comedy track.Debutant director Ramana an assistant to R.K.Selvamanai moves the film at an interesting pace. Little more care could have been taken on the screenplay. The highlights of the film are Vidhya Sagar’s music and Peter Heyn’s stunts. Vidhya Sagar’s re-recording enhances the effect of many scenes, including the fight sequences. R.Rathinavelu’s camera work is catchy especially in the foreign locales.

Pudhiya Geethai, 2003

http://www.hinduonnet.com/thehindu/fr/2003/05/16/stories/2003051601130200.htm

"Pudhiya Geethai"... driving home a useful message.

POSITIVE THINKING is imperative for achieving goals, is what Viswaas' "Pudhiya Geethai" underlines. The end is predictable, but the conviction with which the climax drives home the message makes it interesting.

Sarathi (Vijay) is an incredibly energetic young man - student, businessman, a friend in need and a loving son. The bubbling enthusiasm, genial smile that has a shade of innocence about it and the busy-as-a-bee kind of role is rather new for the generally stone-faced, slothful Vijay one is used to watching on screen.

The film gets its title from the fact that the hero expounds on life's philosophy. Suji (Meera Jasmine), a bespectacled dullard, is a friend of Sarathi, till things take a different turn. Jo (Amisha Patel) is again a friend. Predictions at birth clearly indicate that this wizard of a hero would live only till the age of 27. And the story takes off from Sarathi's 27th year.

Vijay presents the character that has a quite a few nuances, creditably. Mention must be made of the scene in which he desperately reels out details about himself, to the doctor, even as he is losing consciousness. The dialogue, in particular, helps make the necessary impact. Suji (Meera Jasmine), who is initially childish, blossoms into a mature girl, once she falls in love. The sudden transformation is unrealistic. And spectacles or no spectacles this heroine is indeed charming. But the same cannot be said of Amisha Patel, who makes her debut in Tamil with "Pudhiya Geethai".

Thin in appearance and artificial in expression, Amisha has not made her Tamil launch memorable.

Reddiar (Kalabhavan Mani), is the stereotyped villain. But the interesting change is reserved for the climax, where Mani makes an impression.

Kalairani deserved better roles, one always thought. The little scope she's been given, she has utilised well in "... Geethai." Sanjay is almost a constant in Vijay's films. As the fisherman friend Lawrence, who is in love with Sarathi's sister, the youngster does a neat job. Nasser in such a miniscule role? - really sad. The mother of the heroine, clinging to her youth, reeks of artificiality.

Dance masters Lawrence and Rajasekar have used some appreciable dance movements in the song sequences. The scene in which the hero falls from the terrace of the college has been well captured. Ramesh Krishna is the cinematographer.

Karthik Raja's re-recording enhances the effect of many scenes, including the fight sequences.
It is a pity that a composer with such potential remains under utilised. Yuvan Shankar Raja's songs, however, don't stir you much.

Unlike many films today, writer-director Jagan's "Pudhiya Geethai" is purposeful.

Vaseegara, Jan 15th, 2003

http://www.hinduonnet.com/thehindu/fr/2003/01/31/stories/2003013101060201.htm

VIJAY'S ACCENT is on romantic comedy this time in Shots N Stills Production, "Vaseegara" - named after a hit number, penned by Thamarai, the title has a definite poetic touch to it. It is a breezy romance of the Mills & Boon kind and takes off well. Nothing dramatic happens from the beginning till nearly the end, and but for the contrived climax, watching "Vaseegara" would have been like a visit to any normal, happy, well-to-do household - refreshing and enjoyable. But the last few scenes are a real drag.

There is comedy, a little action and a lot of love - remake or otherwise the recipe is the same, only the proportion varies. Bhupathy (Vijay) is packed off to the city after graduation. His father's friend, Viswanathan or Vichu (Nasser) would help him secure a job. What the hero does not bargain for is Priya's (Sneha) interest in him. The girl is already engaged but that doesn't deter her. Her change of heart upsets the apple cart. Though Bhupathy wants to reciprocate he is very careful not to create problems in his host's home.

Vijay has rarely been natural in romantic expressions. Most of the time he would seem to be conscious of his steps in the song sequences and of the dialogue in the love scenes. But "Vaseegara" is different - you actually see him emoting quite well as the forlorn, love-struck young man. Sneha is absolutely comfortable in her role of the woman who is unrelenting in her love for Bhupathi. Gayathri Jayaram, the constant second heroine these days, seems to be gaining in girth. The Man Friday of the house, Kattabomman (Vadivelu) evokes laughter in some of the scenes - it is the decibel level that puts you off.

The scenes involving Vijay and Vadivelu are enjoyable and project the former as an effective comedy hero. Also the way in which he constantly addresses his dad (Manivannan) by name thus showing his closeness and affection for the old man is new and appealing. Nasser looks extremely dignified - yet why do these old men inflict stinging slaps on their docile wives, for no fault of theirs? It's time such crudeness in films is stopped.

When you see Suhasini enter the scene, you think she has a vital role in the proceedings. But no, she just makes a special appearance now and then, doles out a few axioms and vamooses. Pandiyarajan makes a special appearance too.

The story may be a retold version - but the screenplay, dialogue and direction are K. Selvabharathy's.

It is a different and more appealing Vijay in "Vaseegara," in the sense you don't see the Rajini influence (that was only too evident in "Bhagavathy") or the stereotype action hero mould so typical of him.

Bhagavathi, Nov 04th, 2002

http://www.hindu.com/thehindu/fr/2002/11/08/stories/2002110801070202.htm

"Bhagavathy"... showcasing the power of the hero.

A CRIMINAL is a product of circumstance goes the movie axiom. And it is this line that is as old as the hills, which comes to the fore yet again in Lakshmi Movie Makers' "Bhagavathy".
The hero turns into an underworld don but does not seek to avenge the villain who brought it all about. Instead his aim is to see that his dead brother's child is born safely into this world, though the ruthless grandpa of the child wants it killed even in its foetal stage.

Bhagavathy (Vijay) is a tea stall owner - a rough, uneducated young man who strives to educate his brother Guna (Jai). Guna is responsible and studious but makes the fatal mistake of falling in love with the ruthless MP's (Ashish Vidyarthi) daughter, who has the young man killed. And once he knows that his daughter Priya (Monica) is expecting Guna's baby, he orders that his daughter too be done away with. It is now the Bhagavathy's turn to show his brutal power. The quiet and harmless hero becomes a don overnight - you saw it in "Thamizh", and now you see it in "Bhagavathy".

Vijay, who generally does not believe in exerting himself too much in the emotions department, (there are a couple of exceptions though), has made a laudable effort in "Bhagavathy". His anguish at his brother's untimely death, and his subsequent determination to save his brother's loved one have been well delineated by him. But in the romantic sojourns in foreign milieu, the hero is almost stone-faced.

As always the heroine (here, it is Reema Sen) is a forgettable commodity. The duets and the "Vikkal... " song seem thrust in between only to hamper the pace of "Bhagavathy". But such `masala' must have been deemed essential by director Venkatesh, whose "Chocklet" and its "Malai... .." number were lapped up by the masses. The story and screenplay are again by Venkatesh.

Pattukottai Prabhakar's dialogue comes with a punch or two. But the hero, who prides in acting with much forethought, does not appear very sensible. Why else would he have arranged for his brother's wedding when the fellow was still a student and the time so obviously inopportune? Acting with patience and prudence would have shown him in better light.

Again Reema's justification about having exposed Priya to immense danger at the shopping centre is absolutely stupid. But probably one does not raise such queries about formula films.
The MP making a fool of himself time and again and suddenly shown standing vulnerable in the midst of nowhere with the hero going round and round with a cavalcade of Sumo vehicles in tow, are more hilarious than the comic strains of Vadivelu.

The film that seemed to move at an interesting pace makes a nosedive in the climax, with the murder of the politician Singamuthu (Ilavarasu). And that includes the arrest and subsequent release of the hero on bail.

Youth, July 19th, 2002

http://www.nilacharal.com/enter/review/youth.html

In Lakshmi’s Production the ‘Youth’ blends with love and Comedy an interestingly it is unemotional. After Vijay’s ‘Tamizan', this movie takes you back again to Vijay’s masala of Romance.

It is a story of a youth Vijay who takes life as it comes. He lives to his philosophy of being happy even in times of sorrows.Vijayakumar’s daughter at the time of wedding with Shiva(Vijay)elopes. Vijay is unruffled. Amidst the chaos, Vijay convinces everyone that it is not a matter to be perturbed. He leaves to Chennai with his cousin Prabhu(Shyam Ganesh) in search for a job, but happily falls in love with Sandhya and keeps flirting with her forgetting his job.

Vijay has nothing much to be well-spoken in this film. The much said dialogues of Vijay with similes, Clichés, outpouring messages, and repetitive dialogues like Rajinikanth is the backdrop of the film. The dialogue writer Prasanna Kumar reigns the show because the film moves only with dialogue without much of dramatic action.

The Villain’s (Yugendran) clever dialogue is more humorous and captivating especially when he takes up the opposite point of view of a person.

The much contributing factor of the film is Vivek’s comedy.Vivek usually leaves a message in his comedy, but here karuthu kandaswamy’s(vivek) comedy itself becomes the subject of redicule.It is the comic element which predominates and succeeds the story and helps us really to sit back in the film.

The comedy of V.M.C Hanifa as a drunkard, is hilarious especially in the auto rickshaw scene with vivek where they think they are driving to T.Nagar.

The new heroine Sandhya who has the similar features of the heroine of Tamilzan is more slim and dainty like but does nothing to impress us. Vijay's heroine of late seem to be of same taste and style.Simran has done a neat dance number.

The music director ManiSharma has given two or three hit songs. His songs "Sagiye Sagiye", Althota Boopathy" are melodious.Vairamuthu lyrics are noteworthy in his songs ‘santhosam’.
The story moves in snails pace giving little work to your imagination.

If youth is beautiful …then this ‘Youth’ is youthful.

Tamizhan, Apr 14th, 2002

http://www.rediff.com/movies/2002/apr/26tam.htm

Debutant directors seem to be making inroads in the Tamil film industry.

More and more stars prefer working with new directors hoping to cash in on their enthusiasm. Having to prove themselves, the newcomers give all their energy to their maiden ventures and if they triumph so does the star!

Here, looks like A Majeed has made it with Thamizhan starring Vijay, Priyanka Chopra, Nasser, Revathi and Ashish Vidyarthi.

Thamizhan has a one-line story that can be written at the back of a postage stamp --- "everyone should know law".

The fact that the makers have you riveted to your seat despite such a small main motif proves its success. Chennai's typical issues like the bus conductor not giving you back your change, water scarcity and water scandals, form the issues that are taken up on screen which the audiences will lap up.

Vijay who seems to be getting younger is his usual lively self and has a sister, brother-in-law and their kid for family. As an unemployed law graduate, he decides to take up social issues after a sounding from his sister (Revathi).

With Vijay as the do-gooder, the bad guys cannot be far behind. Vijay’s clean-up acts adversely affect baddie GK (Ashish Vidyarthi), who avenges his loss by killing Vijay's folks. He, of course, also manages to tarnish Vijay’s image. How he fights evil without breaking any rules is the remainder of the film. There are some lighter moments in the film as well. Note Vijay's scenes with Delhi Ganesh who plays his senior advocate.

Most films starring Vijay are marked by good music and dance sequences. Both --- good music and dance sequences --- are missing here. Debutant music director D Imaan still has a long way to go to make a mark. He probably will, as he seems to have the enthusiasm to keep him going.
Former Miss World Priyanka Chopra, on the other hand, shows no promise.

Revathi and Nasser fulfill what their roles demand --- of loving family members. Ashish Vidyarthi as the villain is promising.

The dialogues are precise in parts while Ekambaram's cinematography is unobtrusive.
Thamizhan’s success at the BO will make Vijay’s diehard fans happy, especially because his last film Shahjahan was an average grosser.

Vijay and Cocacola Deal

Pushkar Chaudhary - Area Marketing Manager and Mohammed Akeel - Area General Manager, Coca Cola India, spoke to Chennaibest.com about Vijay, the new brand ambassador of Coca Cola, about Coke's marketing strategy, which is, “Think local and Act Local” and about the soft drinks market in Tamil Nadu.

Could you elaborate on your brand endorsement deal with Vijay?

In Tamil Nadu, we have always believed that movies and music have a large following. The trend is similar, throughout the country, but accentuated more in Tamil Nadu. Teenagers seem to follow movies, music and of course the movie stars. The obvious indicators being the kind of fan clubs most movie stars have. If you take the case of Vijay, when we finished the ad, many of his fan clubs came and took his 'Coke posters' to be displayed at vantage places in and around theatres screening his recent movie ‘Badri’.

We wanted to capitalise on this, and use it as part of our marketing strategy. We have done this successfully. For example, we tried it last year with a Vijay starrer ‘Priyamanavale’ and we did a set of activities centred on ‘Priyamanavale’, which were received very well. We have also used stars nationally Hrithik, Aamir and Aishwarya and it worked well for us and we thought why not Vijay, who is one of the top stars in Tamil Nadu, to endorse our brand. That is why we tied up with him. It did not happen immediately. He took some time to think it over since this was the first time he was going to endorse a product.

To my mind we will do well as the first commercial has already come and the ‘gaana’ song seems to be on every youngster’s lips within just a few days itself.

How different is your strategy for Tamil Nadu from the national strategy?

It is very different. There is nothing, which is national, which we roll out in Tamil Nadu or Kerala. For example there is a promotion going on in the North which will start soon, it will not be implemented in Tamil Nadu or Kerala where we will have our own promotions. In fact the Coca Cola promotion has already started in Tamil Nadu with the Vijay starrer Badri.

http://www.chennaibest.com/cityresources/Food_and_Dining/cokeinterview.asp