http://www.tamilstar.com/reviews/bhadri/
Director: Arun Prasad
Cast: Vijay, Bhumika, Monal, Riyaz Khan, Bhupender, Husseini, Vivek, Kitty.
It has a predictable storyline and one knows how exactly the narration is going to move, for we've had such films released in recent times. It is about childhood-buddies-turned-lovers. While one realises 'love' fast enough, the other strays to seemingly greener pastures, realises that they are not so green after all, and returns to the arms of his childhood-friend-turned-lover. 'Piriyadha Varam Vendum' also had a similar theme.
'Bhadri' (a remake of a Telugu Film) centres round Bhadri and Jaanu (Vijay - Bhumika) who are best of buddies and friends since childhood. While Jaanu discovers the stirrings of love for Bhadri much earlier, Bhadri takes her for granted enjoying all the affection she showers on him. He goes to her for moral support when his father ticks him off for his irresponsible behavior.
And when he falls for Mamati (Monal) the new girl on the block, it is to Jaanu that Bhadri goes, and emotionally blackmails her into giving him money and a car to take Mamati out. But Mamati loses no time in transferring her affections to Rohit, wealthy and more suave than the 'middle-class' Bhadri.
Meanwhile Bhadri's brother Vettri (Riyaz Khan) an aspiring boxing champ is bashed up by the reigning champ Rohit and his gang. As the championship nears, Bhadri who had by then learnt a few lessons in life, takes on his brother's mantle, trains himself for the championship, and finally wins, redeeming himself in the eyes of his father.
Vijay is one actor who does not rest on his laurels. He has taken risks in the action scenes where cars are run over his fingers, as he lies flat on the road. Bhumika (first film in Tamil) plays her role with understanding. Riyaz Khan, from the small screen, is an actor to watch out for. Monal seems to be going the Mumtaz-Radhika Choudhry way. Vivek's comedy at times borders on the obscene.
'Bhadri' moves at a fairly neat pace in the earlier part, lags a little later, and then picks up speed towards the end.
All about Ilayathalapathy Vijay
Monday, April 16, 2001
Sunday, January 14, 2001
Friends, Jan 14th, 2001
Cast: Vijay, Surya, Devayani , Vijayalakshmi, Abinayasri , Ramesh Khanna , Vadivelu , Radharavi
Music: Ilaiyaraja
Direction: Siddique
This seems to be year of the Malayalam directors in Tamil cinema. First came Shaji Kailas, who was the man behind Vijayakanth's latest supercop movie Vanchinathan. Another Malayalam director Kamal has just released the Prashanth-Shalini starrer Piriyaadha Varam Vendum, a remake of his own Malayalam movie Niram. In the middle comes Friends, director Siddique's remake of his Malayalam movie of the same name. As the name suggests, the movie attempts to eulogise friendship through some lighthearted comedy in the first half and an exhaustingly convoluted storyline thereafter.
The threesome who lend reason to the title are Aravindan(Vijay), Chandru(Surya) and Krishnamurthy(Ramesh Khanna). They value friendship over everything else, even family, and for this reason, Chandru resists the advances of Aravindan's sister Amutha(Vijayalakshmi). When the trio take up a painter's job at a mansion, Aravindan falls in love with Padmini(Devayani), who lives there and Padmini's jealous cousin(Abinayasri) makes him believe that his overtures are reciprocated. When the truth is revealed and Padmini rejects him outright, Chandru stands up for his friend and speaks ill of her. This makes her swear to separate the friends.
The movie follows the now-familiar trajectory of a first half where comedy is predominant, and a sentimental second half. While the idea is right and the premise is strong, the movie is not completely effective due to the less-than-hilarious comedy in the first half and the overdose of sentiments in the second half. While there are some funny scenes in the beginning, there are also periods of comic drought which are tough to sit through. And once the story takes a serious turn, we are overwhelmed by the twists and turns the story takes and the convoluted logic the characters base their acts on. So, first there is a dearth of consistent laughs and then an overkill with sentiments. And it is all capped off by a silly, cinematic climax.
First Vijay and then Vadivelu contribute to the laughs at the start. Vijay's character is likeable and his advances to the women are cute. Vadivelu is loud as usual but instead of being the centerpiece of a separate comedy track, he is the target of many of the jokes here and so ends up being quite funny. The scene where Vijay rains blows on him and his helplessness at the hands of his assistants in the mansion are enjoyable. On the other hand, the scene where Vijay, Surya, Vadivelu and Charlie go round in circles when chasing each other ends up being way too long.
No one can blame Siddique of selecting a lightweight story. The movie rivals Vaanavil for the heaviness of the story in the second half. While that in itself can probably be considered a good thing, the proceedings are not handled in a smooth manner here. The logic behind the actions of the characters is confusing and sometimes, unrealistic. Things do seem to settle down during one particular portion when problems are settled but new ones crop up soon after. The secret in Vijay's past is surprising and provides a nice twist.
The whole movie is Surya's flashback and though I have not seen the Malayalam original, I can say with some assurance that it would have ended with the conclusion of the flashback. The rest of the movie feels unnecessarily tacked on keeping Vijay's current popularity in mind. It doesn't gel with the happenings before, is completely cinematic and cliched and sticks out like a sore thumb.
Vijay surprisingly plays a subdued role that can almost be termed a supporting role to Surya. But he is cute initially and displays maturity in the emotional scenes in the second half. As expected, he has a few occasions to showcase his dancing and stunt talents and makes good use of them. Surya fits into the serious, silent role in the beginning but struggles to emote in the sentimental scenes. Devayani doesn't have much to do. Vijayalakshmi seems like a good find.
Though Ilaiyaraja comes of a strong year in 2000 he doesn't impress a lot in his first movie of 2001. The songs are quite ordinary and none make much of an impression the first time.
Music: Ilaiyaraja
Direction: Siddique
This seems to be year of the Malayalam directors in Tamil cinema. First came Shaji Kailas, who was the man behind Vijayakanth's latest supercop movie Vanchinathan. Another Malayalam director Kamal has just released the Prashanth-Shalini starrer Piriyaadha Varam Vendum, a remake of his own Malayalam movie Niram. In the middle comes Friends, director Siddique's remake of his Malayalam movie of the same name. As the name suggests, the movie attempts to eulogise friendship through some lighthearted comedy in the first half and an exhaustingly convoluted storyline thereafter.
The threesome who lend reason to the title are Aravindan(Vijay), Chandru(Surya) and Krishnamurthy(Ramesh Khanna). They value friendship over everything else, even family, and for this reason, Chandru resists the advances of Aravindan's sister Amutha(Vijayalakshmi). When the trio take up a painter's job at a mansion, Aravindan falls in love with Padmini(Devayani), who lives there and Padmini's jealous cousin(Abinayasri) makes him believe that his overtures are reciprocated. When the truth is revealed and Padmini rejects him outright, Chandru stands up for his friend and speaks ill of her. This makes her swear to separate the friends.
The movie follows the now-familiar trajectory of a first half where comedy is predominant, and a sentimental second half. While the idea is right and the premise is strong, the movie is not completely effective due to the less-than-hilarious comedy in the first half and the overdose of sentiments in the second half. While there are some funny scenes in the beginning, there are also periods of comic drought which are tough to sit through. And once the story takes a serious turn, we are overwhelmed by the twists and turns the story takes and the convoluted logic the characters base their acts on. So, first there is a dearth of consistent laughs and then an overkill with sentiments. And it is all capped off by a silly, cinematic climax.
First Vijay and then Vadivelu contribute to the laughs at the start. Vijay's character is likeable and his advances to the women are cute. Vadivelu is loud as usual but instead of being the centerpiece of a separate comedy track, he is the target of many of the jokes here and so ends up being quite funny. The scene where Vijay rains blows on him and his helplessness at the hands of his assistants in the mansion are enjoyable. On the other hand, the scene where Vijay, Surya, Vadivelu and Charlie go round in circles when chasing each other ends up being way too long.
No one can blame Siddique of selecting a lightweight story. The movie rivals Vaanavil for the heaviness of the story in the second half. While that in itself can probably be considered a good thing, the proceedings are not handled in a smooth manner here. The logic behind the actions of the characters is confusing and sometimes, unrealistic. Things do seem to settle down during one particular portion when problems are settled but new ones crop up soon after. The secret in Vijay's past is surprising and provides a nice twist.
The whole movie is Surya's flashback and though I have not seen the Malayalam original, I can say with some assurance that it would have ended with the conclusion of the flashback. The rest of the movie feels unnecessarily tacked on keeping Vijay's current popularity in mind. It doesn't gel with the happenings before, is completely cinematic and cliched and sticks out like a sore thumb.
Vijay surprisingly plays a subdued role that can almost be termed a supporting role to Surya. But he is cute initially and displays maturity in the emotional scenes in the second half. As expected, he has a few occasions to showcase his dancing and stunt talents and makes good use of them. Surya fits into the serious, silent role in the beginning but struggles to emote in the sentimental scenes. Devayani doesn't have much to do. Vijayalakshmi seems like a good find.
Though Ilaiyaraja comes of a strong year in 2000 he doesn't impress a lot in his first movie of 2001. The songs are quite ordinary and none make much of an impression the first time.
Sunday, November 26, 2000
Priyamanavale, Nov 26th, 2000
http://www.tamilstar.com/reviews/priyam/
Director: K.Sevlabharathi
Cast: Vijay, Simran, Radhika Chowdry
Piriyamanavale Yesterday it was 'Kushi' . Tommorrow it is going to be 'Priyamanavale'. Vijay would scale one more height with the release of 'Priyamanavale'. Already Vijay had worked with Selva Bharathi in 'Ninaithen Vandhai'. They have joined hands again. It is the remake of a super-hit Telugu film, 'Pavithrabandham'. The story of that film has scored victories in Hindi and Kannada film words also. Vijay, in as much as he is fond of the stories from other languages, has brought the fine story to be depicted in Tamil also.
Vijay appears as a completely westernized person as he was raised in alien circumstances. He hates our own civilization, culture and traditions. But Simran whom he marries has entirely different characteristics and traits. The story deals as to how Simran manages to change the thinking and activities of Vijay. The news about the birth of his male child reached Vijay when he was taking part in the shooting for this film. As a strange coincidence, the story demanded him to act a similar situation on that day.
Vijay became too happy and he acted very naturally in the scene concerned. In the event of the success of this film, Vijay may once again capture the top spot among the Tamil heroes.
Director: K.Sevlabharathi
Cast: Vijay, Simran, Radhika Chowdry
Piriyamanavale Yesterday it was 'Kushi' . Tommorrow it is going to be 'Priyamanavale'. Vijay would scale one more height with the release of 'Priyamanavale'. Already Vijay had worked with Selva Bharathi in 'Ninaithen Vandhai'. They have joined hands again. It is the remake of a super-hit Telugu film, 'Pavithrabandham'. The story of that film has scored victories in Hindi and Kannada film words also. Vijay, in as much as he is fond of the stories from other languages, has brought the fine story to be depicted in Tamil also.
Vijay appears as a completely westernized person as he was raised in alien circumstances. He hates our own civilization, culture and traditions. But Simran whom he marries has entirely different characteristics and traits. The story deals as to how Simran manages to change the thinking and activities of Vijay. The news about the birth of his male child reached Vijay when he was taking part in the shooting for this film. As a strange coincidence, the story demanded him to act a similar situation on that day.
Vijay became too happy and he acted very naturally in the scene concerned. In the event of the success of this film, Vijay may once again capture the top spot among the Tamil heroes.
Friday, May 19, 2000
Kushi, May 19, 2000
http://www.rediff.com/movies/2000/jun/14kush.htm
A light, airy romance
Rajitha
Well, well, what do you know! It is possible to tell an interesting love story, keeping the audiences engrossed throughout -- all this, without warring fathers, lecherous men and assorted other villains.
That is the first thing that strikes you about Kushee, the Vijay-Jyotika starrer now doing a more than decent run at the box office.
Right from the outset, the director works on the destiny theme. His basic premise, spelt out via elaborate scenes of two children being born at the same time, in places as far apart as Calcutta and Kutralam, is that there is a destiny guiding the (love) affairs of men. That your mate is pre-fixed by the Powers Above and, willy-nilly, the two shall meet. And, in due season, mate.
The story itself is simply told. A lad in Calcutta, a lass in Kutralam, find their way, via various twists and turns of fate, towards each other. The two end up in the same college, they make friends, they gradually become aware of a growing fondness for each other.
At which point, enter the villain. I know, I know, I did say this film has no villains -- but a film needs conflict. The director uses personal egos to create that conflict and the resulting misunderstandings that separate the pair. How they resolve their differences and fulfill their destiny forms the rest of the story.
It is simple, straight storytelling -- and that is the film's biggest plus point. A nice, easy script. Very well-etched characters. And an ability, on the part of the director, to enter into the minds of two young people discovering each other, and present their growing romance with just the right situational brushstrokes -- delicate, evocative, touching.
The minimalistic storyline is an added asset. What the director does is create two characters, then lets them work their way through the story without extraneous frills and an overdose of drama. Thus, while the girl's father is a proud Tamil Christian and the boy's parents are devout, temple-going Hindus, the director steers clear of the trap of using religious differences as a catalyst for further drama. As far as he is concerned, he has a straight tale to tell, and he tells it with a minimum of fuss -- paradoxically, it is the minimalism that maximises the impact.
The demands of the box office ensure that the director works in a couple of 'items.' One is the Macarena dance number with Shilpa Shetty doing a one-song appearance; another, the rather 'hot' Kettipudi kettipudi da dance featuring Mumtaz, whose debut as lead actress in T Rajendar's hoky Monisha En Monalisa came a cropper and who appears set for an alternate career as a Silk Smitha-esque screen siren. Fortunately, neither of them really jars, nor detracts from the pace of story-telling, though you could quite easily excise the Shilpa Shetty ditty at the editing table and not even feel the cut.
Interestingly, the dance sequence that really highlights the film is neither of the above, but a rain song (Megham karukkudhu), picturised on Jyotika and highlighted by some spectacular cinematography.
Which brings us to the credits. The film is helmed by Surya (Justin, to use his given name -- it was director Vasant who recommended that he adopt the pseudonym Surya, after the latter confessed to an admiration for a character by that name, played by Rajinikanth in the Mani Rathnam hit Dalapathi). Kushee is Surya's second outing, after his debut, the Ajit-Simran starrer Vaali, became a bonafide superhit.
The director makes a cameo appearance onscreen, as the instrument of fate that ensures Vijay does not go off to Canada but ends up in a Madras college to pursue higher studies and, thus, meets the love of his life. He also pitches in to sing a few lines of the Macarena ditty (in Vaali, too, he had sung a few bars in the Veenal kaayudhu number). Judging by the evidence of his first two films, tight control over story-telling, an innate simplicity and a nice touch in pacing are his directorial plus points.
The male lead is Vijay. Ilaya Dalapathi, to give him his fan-bestowed sobriquet. Once seen as Rajinikanth's natural heir, Vijay has been having a poor run of late, with films like Nenjinile, Minsaara Kanna and even the Fazil-directed Kannukkul Nilavu bombing at the box office. Kushee, thus, comes as a much-needed hit.
The hallmark of his acting is an ease before the camera, a very casual, at-home mein that translates into effortless performance. Vijay also comes across as one of the few top heroes to avoid the trap of narcissism -- he is equally casual, thus, about his clothes and makeup, both of which are noticeably understated.
Fronting the female cast is Jyotika Sadanah -- dubbed the Ilaya Nila, by her growing legion of fans. Nagma's sister, who first appeared on screen in a small role in Vaali, before striking it rich with the more recent Ajith-hit Mugavari, knows what her USP is -- a very mobile face and eyes brimming with mischief, the whole totalling an elfin charm -- and milks it for all it's worth.
Jyotika, in fact, seems on a roll with Kushee proving to be her second notable success, and with a starring role opposite Kamal Haasan in Thenali in the pipleline.
The likes of Vijaykumar, Nizhalgal Ravi and Beena (a Bombay import, who plays Vijay's mother) play supporting roles. Also in the cast is Prasad, Prabhu Deva's brother, first seen boogeying with Sonali Bendre in the Humma humma number in Bombay.
Cinematography is a standout feature of this particular A M Rathnam production and Jeeva (whose credits include the Shankar-directed Kamal Hassan-starrer Indian) comes up with some stunning visuals. The camera, unobtrusively brilliant throughout, really comes into its own in the rain song sequence.
The music is by Deva (which incidentally rounds off the Vaali team of Surya-Jeeva-Deva), with the Kattipudi... and Megham karukkudhu songs as the highlights of a highly competent score. Interestingly, the song credits include a certain Vasundhara Das -- last heard warbling the hit Shakalaka baby number picturised on Sushmita Sen in Mudhalvan, and last seen engaged in some passionate kissing sequences with Kamal Haasan, when she played his second wife in Hey! Ram.
Overall, the light, airy romance of Kushee works just right for the holiday season, with an appeal calculated for the teen and family audiences.
A light, airy romance
Rajitha
Well, well, what do you know! It is possible to tell an interesting love story, keeping the audiences engrossed throughout -- all this, without warring fathers, lecherous men and assorted other villains.
That is the first thing that strikes you about Kushee, the Vijay-Jyotika starrer now doing a more than decent run at the box office.
Right from the outset, the director works on the destiny theme. His basic premise, spelt out via elaborate scenes of two children being born at the same time, in places as far apart as Calcutta and Kutralam, is that there is a destiny guiding the (love) affairs of men. That your mate is pre-fixed by the Powers Above and, willy-nilly, the two shall meet. And, in due season, mate.
The story itself is simply told. A lad in Calcutta, a lass in Kutralam, find their way, via various twists and turns of fate, towards each other. The two end up in the same college, they make friends, they gradually become aware of a growing fondness for each other.
At which point, enter the villain. I know, I know, I did say this film has no villains -- but a film needs conflict. The director uses personal egos to create that conflict and the resulting misunderstandings that separate the pair. How they resolve their differences and fulfill their destiny forms the rest of the story.
It is simple, straight storytelling -- and that is the film's biggest plus point. A nice, easy script. Very well-etched characters. And an ability, on the part of the director, to enter into the minds of two young people discovering each other, and present their growing romance with just the right situational brushstrokes -- delicate, evocative, touching.
The minimalistic storyline is an added asset. What the director does is create two characters, then lets them work their way through the story without extraneous frills and an overdose of drama. Thus, while the girl's father is a proud Tamil Christian and the boy's parents are devout, temple-going Hindus, the director steers clear of the trap of using religious differences as a catalyst for further drama. As far as he is concerned, he has a straight tale to tell, and he tells it with a minimum of fuss -- paradoxically, it is the minimalism that maximises the impact.
The demands of the box office ensure that the director works in a couple of 'items.' One is the Macarena dance number with Shilpa Shetty doing a one-song appearance; another, the rather 'hot' Kettipudi kettipudi da dance featuring Mumtaz, whose debut as lead actress in T Rajendar's hoky Monisha En Monalisa came a cropper and who appears set for an alternate career as a Silk Smitha-esque screen siren. Fortunately, neither of them really jars, nor detracts from the pace of story-telling, though you could quite easily excise the Shilpa Shetty ditty at the editing table and not even feel the cut.
Interestingly, the dance sequence that really highlights the film is neither of the above, but a rain song (Megham karukkudhu), picturised on Jyotika and highlighted by some spectacular cinematography.
Which brings us to the credits. The film is helmed by Surya (Justin, to use his given name -- it was director Vasant who recommended that he adopt the pseudonym Surya, after the latter confessed to an admiration for a character by that name, played by Rajinikanth in the Mani Rathnam hit Dalapathi). Kushee is Surya's second outing, after his debut, the Ajit-Simran starrer Vaali, became a bonafide superhit.
The director makes a cameo appearance onscreen, as the instrument of fate that ensures Vijay does not go off to Canada but ends up in a Madras college to pursue higher studies and, thus, meets the love of his life. He also pitches in to sing a few lines of the Macarena ditty (in Vaali, too, he had sung a few bars in the Veenal kaayudhu number). Judging by the evidence of his first two films, tight control over story-telling, an innate simplicity and a nice touch in pacing are his directorial plus points.
The male lead is Vijay. Ilaya Dalapathi, to give him his fan-bestowed sobriquet. Once seen as Rajinikanth's natural heir, Vijay has been having a poor run of late, with films like Nenjinile, Minsaara Kanna and even the Fazil-directed Kannukkul Nilavu bombing at the box office. Kushee, thus, comes as a much-needed hit.
The hallmark of his acting is an ease before the camera, a very casual, at-home mein that translates into effortless performance. Vijay also comes across as one of the few top heroes to avoid the trap of narcissism -- he is equally casual, thus, about his clothes and makeup, both of which are noticeably understated.
Fronting the female cast is Jyotika Sadanah -- dubbed the Ilaya Nila, by her growing legion of fans. Nagma's sister, who first appeared on screen in a small role in Vaali, before striking it rich with the more recent Ajith-hit Mugavari, knows what her USP is -- a very mobile face and eyes brimming with mischief, the whole totalling an elfin charm -- and milks it for all it's worth.
Jyotika, in fact, seems on a roll with Kushee proving to be her second notable success, and with a starring role opposite Kamal Haasan in Thenali in the pipleline.
The likes of Vijaykumar, Nizhalgal Ravi and Beena (a Bombay import, who plays Vijay's mother) play supporting roles. Also in the cast is Prasad, Prabhu Deva's brother, first seen boogeying with Sonali Bendre in the Humma humma number in Bombay.
Cinematography is a standout feature of this particular A M Rathnam production and Jeeva (whose credits include the Shankar-directed Kamal Hassan-starrer Indian) comes up with some stunning visuals. The camera, unobtrusively brilliant throughout, really comes into its own in the rain song sequence.
The music is by Deva (which incidentally rounds off the Vaali team of Surya-Jeeva-Deva), with the Kattipudi... and Megham karukkudhu songs as the highlights of a highly competent score. Interestingly, the song credits include a certain Vasundhara Das -- last heard warbling the hit Shakalaka baby number picturised on Sushmita Sen in Mudhalvan, and last seen engaged in some passionate kissing sequences with Kamal Haasan, when she played his second wife in Hey! Ram.
Overall, the light, airy romance of Kushee works just right for the holiday season, with an appeal calculated for the teen and family audiences.
Friday, January 14, 2000
Kanukkul Nilavu, Jan 14th, 2000
http://www.rediff.com/entertai/2000/jan/19kannu.htm
A film worth seeing!
Aswathy
Director Fazil has repeated the psychoanalytical theme of Manichithrathazhu, his earlier Malayalam mega-hit, in Chintamani Cine Arts's Pongal offering, Kannukkul Nilavu (Tamil). This time too, both the story and narration have his stamp of sensitivity. But the highlight of the film is actor Vijay's power-packed performance.
Gautham (Vijay), a music student, is obsessed with the disappearance of Gayathri, the girl he loves. He comes to Pondichery in search of her and meets Hema (Shalini) and her pals in a restaurant. As is their usual wont, they play a practical prank on him which boomerangs when Gautham turns the table on them with his singing and dancing prowess. He then tells them about his mission to find Gayathri.
His partial amnesia and queer gestures and mannerisms make Hema and her friends wonder if he is sane. Hema feels remorseful, especially since her mother was a mental patient, and empathises with Gautham. She takes him to her father, Dr Rajashekhar (Raghuvaran), who is a psychiatrist, for treatment. Gautham, under a hypnotic trance, narrates how he was a helpless witness to Gayathri's murder and affirms his resolve to take revenge on the three perpetrators of the crime. Which puts Dr Rajashekhar in a dilemma as he realises that Gautham, once cured of his obsession for Gayathri, will be a prey to another form of obsessive neurosis, this time to kill Gayathri's murderers.
Hema's empathy for Gautham turns into love. All her father's attempts to convince her about the hopelessness of the situation are in vain. Then, Dr Rajashekhar manages to trace the culprits, who tell him a different story.
Gautham regains his memory when his mother arrives on the scene. But the change that comes over him is drastic and disastrous. Thwarting everyone's attempts to stop him, he goes after the 'killers'. Where a shocking surprise awaits him….
Fazil, as always, is good though the narration could have been more breezy in the first half. The trauma caused by the beloved's death, leading to an imbalance in the hero's mental equilibrium, is not unheard of in Indian films. But a modern urban girl like Hema falling in love with a psychiatric patient is a bit difficult to digest as her interaction with the hero is always tinged with uneasiness and fear. Fazil could have taken pains to build up the relationship in a more convincing manner.
Fazil scores, though, in the twists he introduces that turn the simple story of Gautham's search for Gayathri into a haunting mystery and a journey into the hero's troubled psyche. His sensitive directorial touches are not to be missed in scenes where Hema's father tries to make her realise her folly; the way Gautham's mother reacts when she finally meets her son after a long and agonising search; when Gautham breaks down on his mother's lap unable to bear his inner torment; when Gautham, with a childlike vulnerability, goes on making mud cakes while waiting for Hema's return touches our heart.
Fazil has successfully explored on the nuances of the human mind. But he has failed in sustaining the suspense when he makes Hema tell Gautham about the truth regarding Gayathri, though the latter refuses to believe her. It reduces the intensity of the climax considerably and makes the final denouement rather tame.
Vijay as the hero is just brilliant! The actor has shown laudable skill both in the way he has handled this complicated role and in expressing various shades of Gautham's tormented mind. Especially from the moment he becomes aggressive, with the violent streak predominating and eyes blazing with manic fury. After Vijay's success draught of 1999, Kannukkul Nilavu should definitely bring him a much-needed hit and become landmark in his career.
Raghuvaran, whose biggest asset as an artiste is his baritone voice, has given a sterling performance as Dr Rajashekhar. He has successfully portrayed the conflict between the doting father and the committed doctor and its inherent pathos in a very touching manner. He tugs at our heartstrings, especially in sequences where he expresses his helplessness to a silently pleading Gautham's mother and when he tries to dissuade his daughter from meeting Gautham.
Both Shalini, as Hema, and Sreevidya, as the heartbroken mother, have done a good job especially in the scenes where Gautham terrorises them with his violent behaviour. Charlie and his friends bring the necessary comic relief.
Fazil deserves special kudos for avoiding cheap comedy and double entendres, which have become the bane of many a Tamil film. There is clean, subtle humour, the tone of which is set in the opening shot. And there are hilarious situations, like when Vijay frightens the wits out of Hema and her gang with his antics in the 'haunted' house.
Ilayaraja's music is melodious and soothing. The songs Iravu pakale thedi, soulfully rendered by Yesudas, and Nilavu pattu nilavu paattu, by Hariharan, are outstanding. The pleasant visuals are another plus point. All in all, this is a film worth seeing.
A film worth seeing!
Aswathy
Director Fazil has repeated the psychoanalytical theme of Manichithrathazhu, his earlier Malayalam mega-hit, in Chintamani Cine Arts's Pongal offering, Kannukkul Nilavu (Tamil). This time too, both the story and narration have his stamp of sensitivity. But the highlight of the film is actor Vijay's power-packed performance.
Gautham (Vijay), a music student, is obsessed with the disappearance of Gayathri, the girl he loves. He comes to Pondichery in search of her and meets Hema (Shalini) and her pals in a restaurant. As is their usual wont, they play a practical prank on him which boomerangs when Gautham turns the table on them with his singing and dancing prowess. He then tells them about his mission to find Gayathri.
His partial amnesia and queer gestures and mannerisms make Hema and her friends wonder if he is sane. Hema feels remorseful, especially since her mother was a mental patient, and empathises with Gautham. She takes him to her father, Dr Rajashekhar (Raghuvaran), who is a psychiatrist, for treatment. Gautham, under a hypnotic trance, narrates how he was a helpless witness to Gayathri's murder and affirms his resolve to take revenge on the three perpetrators of the crime. Which puts Dr Rajashekhar in a dilemma as he realises that Gautham, once cured of his obsession for Gayathri, will be a prey to another form of obsessive neurosis, this time to kill Gayathri's murderers.
Hema's empathy for Gautham turns into love. All her father's attempts to convince her about the hopelessness of the situation are in vain. Then, Dr Rajashekhar manages to trace the culprits, who tell him a different story.
Gautham regains his memory when his mother arrives on the scene. But the change that comes over him is drastic and disastrous. Thwarting everyone's attempts to stop him, he goes after the 'killers'. Where a shocking surprise awaits him….
Fazil, as always, is good though the narration could have been more breezy in the first half. The trauma caused by the beloved's death, leading to an imbalance in the hero's mental equilibrium, is not unheard of in Indian films. But a modern urban girl like Hema falling in love with a psychiatric patient is a bit difficult to digest as her interaction with the hero is always tinged with uneasiness and fear. Fazil could have taken pains to build up the relationship in a more convincing manner.
Fazil scores, though, in the twists he introduces that turn the simple story of Gautham's search for Gayathri into a haunting mystery and a journey into the hero's troubled psyche. His sensitive directorial touches are not to be missed in scenes where Hema's father tries to make her realise her folly; the way Gautham's mother reacts when she finally meets her son after a long and agonising search; when Gautham breaks down on his mother's lap unable to bear his inner torment; when Gautham, with a childlike vulnerability, goes on making mud cakes while waiting for Hema's return touches our heart.
Fazil has successfully explored on the nuances of the human mind. But he has failed in sustaining the suspense when he makes Hema tell Gautham about the truth regarding Gayathri, though the latter refuses to believe her. It reduces the intensity of the climax considerably and makes the final denouement rather tame.
Vijay as the hero is just brilliant! The actor has shown laudable skill both in the way he has handled this complicated role and in expressing various shades of Gautham's tormented mind. Especially from the moment he becomes aggressive, with the violent streak predominating and eyes blazing with manic fury. After Vijay's success draught of 1999, Kannukkul Nilavu should definitely bring him a much-needed hit and become landmark in his career.
Raghuvaran, whose biggest asset as an artiste is his baritone voice, has given a sterling performance as Dr Rajashekhar. He has successfully portrayed the conflict between the doting father and the committed doctor and its inherent pathos in a very touching manner. He tugs at our heartstrings, especially in sequences where he expresses his helplessness to a silently pleading Gautham's mother and when he tries to dissuade his daughter from meeting Gautham.
Both Shalini, as Hema, and Sreevidya, as the heartbroken mother, have done a good job especially in the scenes where Gautham terrorises them with his violent behaviour. Charlie and his friends bring the necessary comic relief.
Fazil deserves special kudos for avoiding cheap comedy and double entendres, which have become the bane of many a Tamil film. There is clean, subtle humour, the tone of which is set in the opening shot. And there are hilarious situations, like when Vijay frightens the wits out of Hema and her gang with his antics in the 'haunted' house.
Ilayaraja's music is melodious and soothing. The songs Iravu pakale thedi, soulfully rendered by Yesudas, and Nilavu pattu nilavu paattu, by Hariharan, are outstanding. The pleasant visuals are another plus point. All in all, this is a film worth seeing.
Thursday, September 09, 1999
Minsara Kanna, Sep 09th, 1999
http://www.indolink.com/tamil/cinema/Reviews/articles/Minsaraa_Kanna_16184.html
By the looks of it, the toughest job confronting tamil cinema directors right now is coming up with a full-length comedy which manages to atleast keep the viewer in his seat, even if not making him roll around in laughter, for the full length of the movie. We recently had Poovellaam Kaettuppaar which preluded a very funny second half with a listless romance.
And now comes Minsaara Kannaa, which jogs along easily before becoming enmeshed in sentiments and cinematic cliches which make the last part of the movie all but unwatchable.
Indradevi(Kushboo), a garment manufacturer, is an avowed man-hater. Completely surrounded by a lady staff, which includes her personal secretary Priya(Rambha), she has single-handedly ruined competitor Vedachalam(Mansur Ali Khan). Kaasi(Vijay) finds his way into her house as her driver and also into Priya's heart.
But he keeps sparring with Indradevi's sister Ishwarya(Monica). Vijay entry into the house is soon followed by other men including a gurkha and a cook(Manivannan). It is soon revealed that Kaasi has his own secret agenda for entering the house. The first half, though never quite reaching comic heights, is light-hearted entertainment that produces quite a few chuckles. And surprisingly, Mansur Ali Khan and his trio of inexpressive helpers provide many of the laughs.
There are many amusing lines scattered throughout and some clever sequences like Vijay getting the gurkha salute him. There are two main twists in the movie and both of these manage to surprise. R.Sunderrajan is the bungling police inspector, around purely for the comedy. But a later development involving him and his junior Anumohan is a funny surprise.
The downturn starts once Vijay's secret is revealed. From then, onwards, the movie stumbles from one standard tamil cinema cliche to another. Kushboo's flashback, which describes why she hates all men, is too serious when compared to the rest of the movie. The same happened in Kaadhalar Dhinam too. Do our directors sign a clause that requires them to insert sentiments into every movie, irrespective of whether it fits into the movie or not?
By the looks of it, the toughest job confronting tamil cinema directors right now is coming up with a full-length comedy which manages to atleast keep the viewer in his seat, even if not making him roll around in laughter, for the full length of the movie. We recently had Poovellaam Kaettuppaar which preluded a very funny second half with a listless romance.
And now comes Minsaara Kannaa, which jogs along easily before becoming enmeshed in sentiments and cinematic cliches which make the last part of the movie all but unwatchable.
Indradevi(Kushboo), a garment manufacturer, is an avowed man-hater. Completely surrounded by a lady staff, which includes her personal secretary Priya(Rambha), she has single-handedly ruined competitor Vedachalam(Mansur Ali Khan). Kaasi(Vijay) finds his way into her house as her driver and also into Priya's heart.
But he keeps sparring with Indradevi's sister Ishwarya(Monica). Vijay entry into the house is soon followed by other men including a gurkha and a cook(Manivannan). It is soon revealed that Kaasi has his own secret agenda for entering the house. The first half, though never quite reaching comic heights, is light-hearted entertainment that produces quite a few chuckles. And surprisingly, Mansur Ali Khan and his trio of inexpressive helpers provide many of the laughs.
There are many amusing lines scattered throughout and some clever sequences like Vijay getting the gurkha salute him. There are two main twists in the movie and both of these manage to surprise. R.Sunderrajan is the bungling police inspector, around purely for the comedy. But a later development involving him and his junior Anumohan is a funny surprise.
The downturn starts once Vijay's secret is revealed. From then, onwards, the movie stumbles from one standard tamil cinema cliche to another. Kushboo's flashback, which describes why she hates all men, is too serious when compared to the rest of the movie. The same happened in Kaadhalar Dhinam too. Do our directors sign a clause that requires them to insert sentiments into every movie, irrespective of whether it fits into the movie or not?
Friday, June 25, 1999
Nenjinile, Jun 25th, 1999
http://www.thenisai.com/tamil/movies/nenjinile_review.htm
Cast: Vijay , Isha Gopikar , Manivannan , 'Nizhalgal' Ravi , Devan
Music: Deva
Direction: S.A.Chandrasekhar
As a self-confessed masala movie fan, I do admit to looking forward to Nenjinile a little more than I looked forward to most of the recent spate of romantic movies. Afterall, it was set in Dharavi and starred Vijay, who has proved his stunt and dance credentials quite nicely in recent hits like Priyamudan, Thullaadha Manamum Thullum and Endrendrum Kaadhal .
Karunakaran(Vijay), a jobless youth, travels to Bombay with the dream of going to Dubai and earning enough to conduct his sister's wedding. But there, he is cheated by an old acquaintance. He falls in love with Nisha (Isha) , a rich girl, but the girl's father(Devan), who disapproves of their romance, orders him to leave Bombay.
Karuna moves in with his friend and gets a job under his friend's boss but learns soon thereafter that the boss is the local dada and his own job is that of a goon. Fearing for his friend's life, he continues in the job against his own wish. He earns enough to ensure a rich lifestyle for his parents back in the village. But when his own gang goes after Nisha after killing her parents, he tries to protect her, earning their wrath.
The stunt sequences have been done well with Vijay taking several risks (One chase in a container yard stands out). He dances enthusiastically in the song sequences too. But the rest of the movie is so bad as to make the whole experience rather painful. The romance between Vijay and Isha is cliched and not helped by the total lack of chemistry between them. And our patience is tested to the limits by the longwinded, anti-violence speech Vijay delivers in the end.
Vijay leaves a lot be desired in the emoting department and and one of his songs(with lines about fans and philosophies) sounds suspiciously like a song in a Rajnikanth movie making us wonder if he has already let success go to his head. Isha, who was so good in Kaadhal Kavidhai , appears rather stiff. Manivannan has another unconnected, unfunny comedy track. Roja appears in a single dance number. This seems to be the trend these days - after Roja herself in Kaadhal Kavidhai and Simran in Edhirum Pudhirum.
Deva has a good song in Manase Manase... and more surprisingly, none of the songs remind you of any old songs. But he continues his disturbing trend of singing for young heroes.
Saturday, April 10, 1999
Vijay's fan club 5th Anniversary - Dinakaran
தினகரன, கடலூர் , பிப்.23- ……
உங்கள் மீது கல்லூரி மாணவிகள் காதல் மயக்கத்தில் இருப்பது ஏன்? என்று ரசிகைகள் கேட்டதற்கு நடிகர் விஜய் பதில் அளித்தார். கடலூர் மஞ்சை நகர் மைதானத்தில் மாவட்ட விஜய் ரசிகர் நற்பணி மன்ற 5-ம் ஆண்டு தொடக்க விழா மற்றும் ஏழை எளியோர்களுக்கு நலத்திட்ட உதவிகள் வழங்கும் விழா சிறப்பாக நடைபெற்றது. பல்லாயிரக்கணக்கான ரசிகர், ரசிகைகளும், பொதுமக்களும் நடிகர் விஜயை காண ஆவலுடன் காத்திருந்தனர்.
நூற்றுக்கும் மேற்பட்ட போலீசார் போலீஸ் துணை சூப்பிரண்டு பன்னீர் செல்வம் தலைமையில் பாது காப்பு ஏற்பாடுகளை செய்திருந்தனர். கட்லூர் நகர தி.மு.க. கூடுதல் செயலாளர் பி.கணபதி விழாவிற்கு தலைமை தாங்கினார். மாவட்ட நிர்வாகிகள் ஏ.ஆரோக்கியராஜ்பாஸ்கர், ஆர்.ஐயப்பன், ஏ.புருஷோத்தமன் முன்னிலை வகித்தார்கள். எஸ்.சீனு வரவேற்றார்.
விழாவில் விஜய் மன்ற அகில இந்திய துணைத்தலைவர் ஏ.ரவிராஜன், மாவட்ட மன்ற ஆலோசகர் ஏ.சசிகுமார், செந்தில், 5 வயது குழந்தை சிந்துகவி, த.மா.கா. மாவட்ட தலைவர் பி.ஆர்.எஸ். வெங்கடேசன், தி.மு.க. தேர்தல் பணி மாநில செயலாளர் இள.புகழேந்தி எம்.எல்.ஏ. உள்பட பலரும் பேசினார்கள்.
நடிகர் விஜய் தந்தையும், திரைப்பட இயக்குனருமான எஸ்.ஏ.சந்திரசேகரன் விழாவில் கலந்து கொண்டு சிறப்புரை ஆற்றினார். பின்னர் மாவட்ட மன்ற நிர்வாகிகள் சீனு, ஆரோக்கியராஜ், ஐயப்பன், பாஸ்கர், புருஷோத்தமன், ரவி, முருகன், சசிகுமார், மணிமாறன், ராஜா, கருணாகரன், நாராயணன், ராஜசேகரன், பி.கணபதி எம்.சி. உள்பட பலருக்கும் விஜய் பொன்னாடை போர்த்தி விழாவை சிறப்பாக ஏற்பாடு செய்தமைக்காக பாராட்டினார்.
விழாவில் கடலூர் நகர, ஒன்றிய, மாவட்ட கிளை விஜய் மன்ற நிர்வாகிகள் நூற்றுக்கணக்கானவர்கள் வரிசையில் நின்று வேகமாக வந்து நடிகர் விஜய்க்கு ரோஜா மாலைகளையும், பொன்னாடையும் ஆர்வத்துடன் அணிவித்தார்கள். நடிகர் விஜய் எண்ணற்ற ரசிகர்களுக்கு அந்த மாலைகளை எடுத்து கழுத்தில் போட்டு மகிழ்ந்தார்.
விஜய் பேச்சு
பின்பு நடிகர் விஜய் பேசியதாவது-
முதலில் கடலூர் வாழ் ரசிகர்களிடமும், பொதுமக்களிடமும் மன்னிப்பு கேட்டுக்கொள்கிறேன். கடந்த இரண்டு மாதங்களுக்கு முன் இதே மேடையில் நடைபெற்ற விழாவிற்கு வந்திருந்தேன். ஆனால் விழா மேடையில் அதிக நேரம் என்னால் இருக்க முடியவில்லை. அப்போது நடிகர்கள் வெளியூர் போகக்கூடாது என்ற ரூல் சங்கத்தில் இருந்தது. முன்னதாகவே தேதி கொடுத்து விட்டதால் தேதியை மாற்ற மனம் இன்றி, வெளியூர் போகக்கூடாது என்ற எல்லையையும் மீறி வந்தேன். அந்த நிலையில் கடலூரில் அதிக நேரம் இருக்க முடியாமல் சென்றதற்கு மீண்டும் மன்னிப்பு கேட்டுக்கொள்கிறேன்.
நண்பர்கள்
நான் நடிகர் ஆக வேண்டும் என்று ஆசைப்பட்டேன். ஆனால் என் அப்பா, அம்மா நான் நடிகனாவதை விரும்பவில்லை. என்னை டாக்டராக்க ஆசைப்பட்டார்கள். நான் நடிகன் ஆனதால்தான் இத்தனை நண்பர்கள் எனக்கு கிடைத்துள்ளார்கள். அதை நினைத்து நான் சந்தோஷப்படுகிறேன். புதுவையில் இருந்து நான் கடலூர் நோக்கி வந்தபோது மாவட்ட எல்லையில் எனது தம்பிகள் என் காருக்கு முன்பு 5 கார்களிலும், பின்னால் 5 கார் களிலும் அணிவகுத்து பெரிய ஊர்வலம் போல் என்னை அழைத்து வந்தார்கள். ஒரு பக்கம் பார்ப்பதற்கு சந்தோஷமாக இருக்கலாம்.
குடும்பத்தை கவனியுங்கள
இந்த ஆர்வத்தை என் ரசிகர்கள் தங்கள் குடும்பத்தின் வளர்ச்சியில் காட்ட வேண்டும். கல்வியில் காட்ட வேண்டும். உபயோகமான முறையில் செலவிட வேண்டும். ஒரு கார் வந்து எனக்கு வழிகாட்டி இருந்தாலே போதுமானது. வீண் செலவு வேண்டாம். உங்கள் பெற்றோர், உடன்பிறந்தோர், தொழில் இவைகளை நன்றாக கவனித்து விட்டு பிறகு என் படத்தை பார்க்கலாம். அப்போதுதான் நீங்களும் நன்றாக இருக்கலாம். நானும் நன்றாக இருக்கமுடியும்.
துள்ளாத மனமும் துள்ளும் …
துள்ளாத மனமும் துள்ளும் படத்தை பெரிய வெற்றிப்படமாக நீங்கள் மாற்றி காட்டிவிட்டீர்கள். எனக்கு மிகவும் சந்தோஷமாக இருக்கிறது. இப்படியே நான் பேசிக்கொண்டுபோனால் போர் அடிக்கும். ஆகவே 10 ரசிகர்கள் இங்கு மேடைக்கு வந்து என்னிடம் கேள்வி கேட்டால் நன்றாக இருக்கும். இவ்வாறு அவர் பேசினார்.
ரசிகர்கள் கேள்வி
இதை தொடர்ந்து விழா மேடைக்கு வந்து ரசிகர் - ரசிகைகள் கேட்ட கேள்விகள் விவரம் வருமாறு-
சரஸ்வதி-தமிழ்நாட்டில் கல்லூரி மாணவிகள் உங்கள் மீது காதல் மயக்கத்தில் உள்ளது பற்றி என்ன கருதுகிறீர்கள்?
விஜய்-காதல் என்பதற்கு இன்னொரு அர்த்தமும் உள்ளது. அன்பை குறிக்கும். அவர்கள் என்னை அண்ணனாக ரசிக்கலாம் அல்லவா?
சரஸ்வதி- ஆரோக்கியமான விஷயம்தான். ஆனால் ரசிகைகள் அப்படி இருப்பதாக தெரிய வில்லையே?
விஜய்-வேண்டுமானால் 10 பேர்களில் 2 பேர் நீங்கள் சொல்வது போல் இருக்கலாம்.
மாணவி சந்தியா- லவ் பண்ணும் ரசிகைக்கு என்ன சொல்ல விரும்புகிறீர்கள்?
விஜய்-என்றும் என் ரசிகையாக இருந்து படிப்பில் முதல் மாணவியாய் நன்றாக படித்து நல்ல நிலைக்கு வரவேண்டும் என ஆசைப்படுகிறேன்.
உதவி செய்வீர்களா?
அனிதா- உதவி என்று கேட்டு வரும் எல்லோருக்கும் உதவி செய்வீர்களா?
விஜய்-என்னால் முடிந்த அளவுக்கு உதவிகளை எப்போதும் செய்வேன்.
அனிதா- நான் சினிமாவில் நடிக்க விரும்புகிறேன். சிபாரிசு செய்வீர்களா?
விஜய்-அய்யய்யோ....
அனிதா- சார், உங்கள் திரு மணம் எப்போது?
விஜய்-இந்த வருடம் நடைபெறும். எல்லோரும் வரணும்.
ஏழுமலை- சூப்பர்ஸ்டார் ரஜினியை போல் உங்களுக்கும் ரசிகர்கள் இருக்கிறhர்களே, எப்படி?
விஜய்-உங்கள் எல்லோருடைய அன்பும், ஆதரவினால் தான் என் அனைத்து படங்களும் வெற்றிப்படமாக அமைகிறது. அதுதான் முக்கிய காரணம்.
அனிதா-உங்கள் தங்கை இறந்த சோகம் உங்களுக்கு இன்னமும் உள்ளதா?
விஜய்-முன்பு இருந்தது. இப்போது இல்லை. இத்தனை பேர் எனக்கு தங்கைகளாக இருக்கிறீர்களே எனக்கு ஏன் சோகம்?
நலத்திட்ட உதவிகள்
பின்னர் கால் ஊனமுற்ற ஒரு இளைஞருக்கு நடிகர் விஜய் 3 சக்கர சைக்கிளை இலவசமாக வழங்கினார். விழிஇழந்தோர் பள்ளி மாணவ - மாணவிகளுக்கு சீருடைகளையும், ஏழை எளிய, வயதானவர்களுக்கு வேட்டி- சேலைகளையும் வழங்கினார். பிளஸ் 2, எஸ்.எஸ்.எல்.சி மாணவ-மாணவிகளுக்கு பரிசுகளை வழங்கினார். பல்லாயிரக்கணக்கான ரசிகர், ரசிகைகள் அவரை நோக்கி முண்டியடித்துக் கொண்டு நெருங்கவே போலீசார் அவரை பாதுகாப்புடன் காரில் வழியனுப்பி வைத்தனர்.
Friday, March 05, 1999
Endrendrum Kaadhal, Mar 05th, 1999
http://www.thenisai.com/tamil/movies/endrendrum_review.htm
Cast: Vijay , Rambha, Raghuvaran , Banupriya, Nambiar , Manivannan , Radharavi , Dhamu
Music and Diection: Manoj Bhatnagar
A pleasant, mildly entertaining movie.
Vijay is the managing director of a large shipping corporation. He lives in a joint family with his father (Nambiar), two brothers (Radharavi and Dhamu), their wives and children and a spinster sister(Banupriya).
Vijay goes on a business trip to Switzerland to finalise a contract with 'Nizhalgal' Ravi and Raghuvaran. There he runs into Rambha, Ravi's sister. The two, in the tradition of all tamil movies, bicker and then fall in love. Ravi too approves of Vijay but when Ravi expresses the wish that Rambha's husband should stay with them and speaks ill of India, Vijay refuses his offer and returns home.
Once Ravi relents, Raghuvaran and Rambha travel to India to mend fences. Raghuvaran learns that Banupriya had been dumped by Ravi for a better life and Vijay is just waiting for an oppurtunity to kill the man who spoilt his sister's life.
He devises ways of preventing Ravi from attending the marriage but when it becomes inevitable, he tells Banupriya the truth. Vijay overhears this, setting up the climax.
The movie meanders along without a strong story. But the director makes up for this to a certain extent with the meetings between Vijay and Rambha and later, Rambha's entry into the joint family. Crazy Mohan (dialogues) is virtually non-existent except for a funny scene when Nambiar 'interviews' Rambha.
Vijay dances, romances and fights enthusiastically but has a lot of work to do with his facial expressions. Banupriya and Raghuvaran are casual and good while the rest are adequate. The comedy, while not very funny, moves along with the movie. Songs are adequate and the camera feasts on Swiss locales for the sequences.
Cast: Vijay , Rambha, Raghuvaran , Banupriya, Nambiar , Manivannan , Radharavi , Dhamu
Music and Diection: Manoj Bhatnagar
A pleasant, mildly entertaining movie.
Vijay is the managing director of a large shipping corporation. He lives in a joint family with his father (Nambiar), two brothers (Radharavi and Dhamu), their wives and children and a spinster sister(Banupriya).
Vijay goes on a business trip to Switzerland to finalise a contract with 'Nizhalgal' Ravi and Raghuvaran. There he runs into Rambha, Ravi's sister. The two, in the tradition of all tamil movies, bicker and then fall in love. Ravi too approves of Vijay but when Ravi expresses the wish that Rambha's husband should stay with them and speaks ill of India, Vijay refuses his offer and returns home.
Once Ravi relents, Raghuvaran and Rambha travel to India to mend fences. Raghuvaran learns that Banupriya had been dumped by Ravi for a better life and Vijay is just waiting for an oppurtunity to kill the man who spoilt his sister's life.
He devises ways of preventing Ravi from attending the marriage but when it becomes inevitable, he tells Banupriya the truth. Vijay overhears this, setting up the climax.
The movie meanders along without a strong story. But the director makes up for this to a certain extent with the meetings between Vijay and Rambha and later, Rambha's entry into the joint family. Crazy Mohan (dialogues) is virtually non-existent except for a funny scene when Nambiar 'interviews' Rambha.
Vijay dances, romances and fights enthusiastically but has a lot of work to do with his facial expressions. Banupriya and Raghuvaran are casual and good while the rest are adequate. The comedy, while not very funny, moves along with the movie. Songs are adequate and the camera feasts on Swiss locales for the sequences.
Friday, January 29, 1999
Thulladhamanamum Thullum, Jan 29th, 1999
http://www.thenisai.com/tamil/movies/thullaadha_review.htm
Cast: Vijay, Simran, Manivannan
Music: S.A.Rajkumar
Direction: Ezhil
An enjoyable romance barring a rather ridiculous climax.
The movie starts with Vijay revealing, on a train journey from Pune to Chennai, that he just got out of jail after seven years. His past is revealed in a flash back.
He had been a singer, waiting for the big break. Simran hears his voice, though she doesn't see him and becomes his fan. When Vijay realises this, he tries to reveal who he is but circumstances place him and Simran in situations where she ends up thinking that he is a rowdy. Vijay ultimately becomes responsible for her losing her eyesight too.
He devotes himself to her from then onwards attending to her every need. She learns to respect and love him too, thinking that he is the singer and not knowing that he is the same person she thought was a rowdy.
Vijay had been telling his mother everything by letter and when she dies, she donates her eyes to Simran. To come up with the money needed for the operation, Vijay donates his kidney and has to travel to Pune for the same. Ready to get back, he is arrested after mistakenly agreeing to look after the luggage (which turns out to contain ammunition) of another man.
Back in the present, everything has changed at the place he used to live. Having nowhere to go, he catches a glimpse of Simran, now the collector. He goes to meet her, leading to the climax.
Vijay, who seems to be improving with every movie, really props up the movie. Apart from romancing Simran, he also takes part in two dances and a robust fight sequence. His acting is upto the mark too.
Simran looks pretty and performs adequately. Manivannan's comedy is not really funny and Dhamu, as Vijay's friend, provides most of the laughter. S.A.Rajkumar follows his pattern of repeating the same song several times in the movie till it starts sounding good!!
The director reveals his touch by making Vijay's mom unseen but a strong presence, throughout the movie.
Cast: Vijay, Simran, Manivannan
Music: S.A.Rajkumar
Direction: Ezhil
An enjoyable romance barring a rather ridiculous climax.
The movie starts with Vijay revealing, on a train journey from Pune to Chennai, that he just got out of jail after seven years. His past is revealed in a flash back.
He had been a singer, waiting for the big break. Simran hears his voice, though she doesn't see him and becomes his fan. When Vijay realises this, he tries to reveal who he is but circumstances place him and Simran in situations where she ends up thinking that he is a rowdy. Vijay ultimately becomes responsible for her losing her eyesight too.
He devotes himself to her from then onwards attending to her every need. She learns to respect and love him too, thinking that he is the singer and not knowing that he is the same person she thought was a rowdy.
Vijay had been telling his mother everything by letter and when she dies, she donates her eyes to Simran. To come up with the money needed for the operation, Vijay donates his kidney and has to travel to Pune for the same. Ready to get back, he is arrested after mistakenly agreeing to look after the luggage (which turns out to contain ammunition) of another man.
Back in the present, everything has changed at the place he used to live. Having nowhere to go, he catches a glimpse of Simran, now the collector. He goes to meet her, leading to the climax.
Vijay, who seems to be improving with every movie, really props up the movie. Apart from romancing Simran, he also takes part in two dances and a robust fight sequence. His acting is upto the mark too.
Simran looks pretty and performs adequately. Manivannan's comedy is not really funny and Dhamu, as Vijay's friend, provides most of the laughter. S.A.Rajkumar follows his pattern of repeating the same song several times in the movie till it starts sounding good!!
The director reveals his touch by making Vijay's mom unseen but a strong presence, throughout the movie.
Friday, August 14, 1998
Nilaave Vaa, Aug 14th, 1998
http://www.ilayathalapathyvijay.com/nilaavevaa.htm
Co-stars : Suvalukshmi, Sanghavi, Raghuvaran, Charlie, Balaji, Sujit Sagar, Jaiganesh, Vinu Chakravarthy and others.
Director : A.Venkatesan
Producer : Shoba Chandrasekharan
Music Director : Vidhyasagar
Story: Seluvar (Vijay) is the son of Vinu Chakravarthy . They are Christians living in a fishing village. Vijay's friends are Charlie, Balaji and Sujit Sagar; and together with Vijay; they are collectively called "The Bad Boys". Mannivanan plays the character of the boatman from "Dubai" . In another town, Perumaal (Jaiganesh) is the father to Sangeetha (Suvalukshmi) and Gauri.
In comes Pilomina (Sanghavi) who "The Bad Boys" hate at first but later become friends. Sanghavi also happens to be Suvalukshmi's colleague and friend. As in many movies, the "thiruvila" plays a very important role. Suvluksmi comes to the small fishing village. Raghuvaran is proposed (and later engaged) to marry Suvalukshmi who is reluctant in doing so. Why? Not only because Raguvaran is 35 years old but also because she and Vijay had fallen in love before.
The director makes both meet in a typical style which should awaken others. Later, after previous meetings both acknowledge the love for the other. However, Gauri, Suvalakshmi's sister falls in love with "The Bad Boys" driver and after hearing Suvalukshmi's view about how their father Jaiganesh; hadn't acknowledged the Hindu-Christian marriage, she decides to elope with the driver. This causes riots between both families and this leads to the break up of Suvalakshmi and Vijay's love affair.
Raghuvaran comes to know about the past and asks his fiancé (Suvalakshmi) if she is willing to marry him and upon recollecting what happened in the past she says a "yes". Later, Raghuvaran realises the seriousness of this love and he together with the rest of "The Bad Boys" ask the lovers to run away but Jaiganesh finds about their plan in time. This sudden news again causes uproar in the village but this time Vinu Chakravarthy & Jaiganesh befriend each other in the task of killing their children.
However, Vijay for the love of his town and family leaves his home town. This makes both families appreciate the love Suvalukshmi and Vijay have for each other.
Co-stars : Suvalukshmi, Sanghavi, Raghuvaran, Charlie, Balaji, Sujit Sagar, Jaiganesh, Vinu Chakravarthy and others.
Director : A.Venkatesan
Producer : Shoba Chandrasekharan
Music Director : Vidhyasagar
Story: Seluvar (Vijay) is the son of Vinu Chakravarthy . They are Christians living in a fishing village. Vijay's friends are Charlie, Balaji and Sujit Sagar; and together with Vijay; they are collectively called "The Bad Boys". Mannivanan plays the character of the boatman from "Dubai" . In another town, Perumaal (Jaiganesh) is the father to Sangeetha (Suvalukshmi) and Gauri.
In comes Pilomina (Sanghavi) who "The Bad Boys" hate at first but later become friends. Sanghavi also happens to be Suvalukshmi's colleague and friend. As in many movies, the "thiruvila" plays a very important role. Suvluksmi comes to the small fishing village. Raghuvaran is proposed (and later engaged) to marry Suvalukshmi who is reluctant in doing so. Why? Not only because Raguvaran is 35 years old but also because she and Vijay had fallen in love before.
The director makes both meet in a typical style which should awaken others. Later, after previous meetings both acknowledge the love for the other. However, Gauri, Suvalakshmi's sister falls in love with "The Bad Boys" driver and after hearing Suvalukshmi's view about how their father Jaiganesh; hadn't acknowledged the Hindu-Christian marriage, she decides to elope with the driver. This causes riots between both families and this leads to the break up of Suvalakshmi and Vijay's love affair.
Raghuvaran comes to know about the past and asks his fiancé (Suvalakshmi) if she is willing to marry him and upon recollecting what happened in the past she says a "yes". Later, Raghuvaran realises the seriousness of this love and he together with the rest of "The Bad Boys" ask the lovers to run away but Jaiganesh finds about their plan in time. This sudden news again causes uproar in the village but this time Vinu Chakravarthy & Jaiganesh befriend each other in the task of killing their children.
However, Vijay for the love of his town and family leaves his home town. This makes both families appreciate the love Suvalukshmi and Vijay have for each other.
Friday, June 12, 1998
Priyamudan, Jun 12th, 1998
http://www.geocities.com/Hollywood/Screen/7334/priya.htm
Almost all reputed heroes of Tamil movies at some stage of their career,have played the anti-hero role. The latest to join the list is Vijai, sonof director S.A. Chandrasekharan, and the film is Lakshmi Movie Makers'``Priyamudan''. Vijai is riding the crest of success in recent years. ToVijai, this is a test by fire and he has come out unscathed, the tensioninvolved in it being discernible.
The story is on the lines of popular movies of Shah Rukh Khan and the Deolbrothers. The debutant director, Vincent Selva, who is also seen in a small,silent role at the airport reveals a good, imaginative mind in the song sequencesbacked by the colourful art work of S.A.C. Ramki. He brings out the possessivenature of the affluent boy with commendable situations.
The director should have fashioned more scenes to show the brutish kind of deep love the herohad developed instead of dwelling on the so-called comedy between the Iyercouple (Manivanan and Sunitha) which ends abruptly. The CBI taking over thedeath of the heroine's father (Jai Ganesh, is an affluent businessman andis in no way connected with politics or any other nefarious deals) is strange.So also the comical assistants (S. A. Chandrasekharan and T. P. Gajendran),of the investigating officer (Nasser).
The dust, the heat and the colourful milieu of Rajasthan have been gloriouslycanned by Vijay Milton. Deva and his brothers have adopted popular Hinditunes and the theme song of an English movie which had bagged many Oscars.The string instruments of Rajasthan also come to the fore in the backgroundscore and is enjoyable.
Vasanth (Vijay), Vasanth Kumar (newcomer Sujith Sagar), Gaffar (S. N. Surender)and Ravi (Azhagu) are thick friends, the first named being the son of a richman and possessive by nature. Vasanth uses his money and influence to geta singing engagement for Vasanth Kumar and they go to Rajasthan where thecompetitions are scheduled. There the rich boy spots Priya (Kausalya) andinstantly falls in love though his efforts to contact her prove to be nearmisses.
When he finally does manage to meet her, the girl is involved inan accident with the car in which the other firends are going to the competitionvenue. They admit her in a hospital and Vasanth Kumar offers his blood tosave her. The dejected band return to Chennai and Vasanth soon receives acall from Priya informing him that she is coming to Chennai. She asks VasanthKumar to meet her at the station.
By turn of events, Vasanth goes to thestation instead of his friend. When he spots Priya, she turns out to be theone who had won his heart. He quietly tells her that he is Vasanth Kumar,the starting point of all trouble, heartburns, angry acts that result indeaths, etc. the possessive nature of Vasanth blinding his senses.
Vijay performs some lively dance numbers, including a solo one, and indulges in vigorous fight (a minor back injury flared up during this shooting, forcing him to take rest for a couple of weeks), all in his usual style. He has madesincere efforts to give shape to the negative character and asserts himselfin the climax. He is at his best in the scene where he pleads his case with Jai Ganesh, forcing him to a rash act. Kausalya just fills the bill, whileSujit Sagar makes a neat essay. Others in the cast include Madan Bob, Deepika and Sunitha.
Almost all reputed heroes of Tamil movies at some stage of their career,have played the anti-hero role. The latest to join the list is Vijai, sonof director S.A. Chandrasekharan, and the film is Lakshmi Movie Makers'``Priyamudan''. Vijai is riding the crest of success in recent years. ToVijai, this is a test by fire and he has come out unscathed, the tensioninvolved in it being discernible.
The story is on the lines of popular movies of Shah Rukh Khan and the Deolbrothers. The debutant director, Vincent Selva, who is also seen in a small,silent role at the airport reveals a good, imaginative mind in the song sequencesbacked by the colourful art work of S.A.C. Ramki. He brings out the possessivenature of the affluent boy with commendable situations.
The director should have fashioned more scenes to show the brutish kind of deep love the herohad developed instead of dwelling on the so-called comedy between the Iyercouple (Manivanan and Sunitha) which ends abruptly. The CBI taking over thedeath of the heroine's father (Jai Ganesh, is an affluent businessman andis in no way connected with politics or any other nefarious deals) is strange.So also the comical assistants (S. A. Chandrasekharan and T. P. Gajendran),of the investigating officer (Nasser).
The dust, the heat and the colourful milieu of Rajasthan have been gloriouslycanned by Vijay Milton. Deva and his brothers have adopted popular Hinditunes and the theme song of an English movie which had bagged many Oscars.The string instruments of Rajasthan also come to the fore in the backgroundscore and is enjoyable.
Vasanth (Vijay), Vasanth Kumar (newcomer Sujith Sagar), Gaffar (S. N. Surender)and Ravi (Azhagu) are thick friends, the first named being the son of a richman and possessive by nature. Vasanth uses his money and influence to geta singing engagement for Vasanth Kumar and they go to Rajasthan where thecompetitions are scheduled. There the rich boy spots Priya (Kausalya) andinstantly falls in love though his efforts to contact her prove to be nearmisses.
When he finally does manage to meet her, the girl is involved inan accident with the car in which the other firends are going to the competitionvenue. They admit her in a hospital and Vasanth Kumar offers his blood tosave her. The dejected band return to Chennai and Vasanth soon receives acall from Priya informing him that she is coming to Chennai. She asks VasanthKumar to meet her at the station.
By turn of events, Vasanth goes to thestation instead of his friend. When he spots Priya, she turns out to be theone who had won his heart. He quietly tells her that he is Vasanth Kumar,the starting point of all trouble, heartburns, angry acts that result indeaths, etc. the possessive nature of Vasanth blinding his senses.
Vijay performs some lively dance numbers, including a solo one, and indulges in vigorous fight (a minor back injury flared up during this shooting, forcing him to take rest for a couple of weeks), all in his usual style. He has madesincere efforts to give shape to the negative character and asserts himselfin the climax. He is at his best in the scene where he pleads his case with Jai Ganesh, forcing him to a rash act. Kausalya just fills the bill, whileSujit Sagar makes a neat essay. Others in the cast include Madan Bob, Deepika and Sunitha.
Sunday, April 12, 1998
Ninaithen Vandai, Apr 10th, 1998
http://www.indolink.com/tamil/cinema/Reviews/articles/Ninaithen_vanthai_161416.html
Ninaithen Vandhai is a must-see Vijay`s movie. It is an entertaining movie. Everyone has lived up to their role. Vijay, Rambha and Devayani are the heart of the movie. They both looked good and have acted very well. Vijay has come out very adorable. The songs are nice and the locations of the movie are breathtaking. The tamil Hum Apke Hain Kaun without the tragedy...
The title itself makes the story of the movie. There is very little to talk about the story. The hero in the movie is madly in love with the disguised girl in his dreams. But his father wants to get him to get to a married distant relative. Unwillingly the hero, along with his two brothers-in-law and uncle, makes a trip to the girl's house and gets engaged. In the meantime the hero with his uncle and brothers-in-law attends a marriage and there he finds his dream girl.
Later on he moves to another place because of his job where he once again meets his dream girl and they fall in love with each other. As is usual in tamil movies, the dream girl and the girl who got engaged with the hero are sisters. But for some reason they stay apart right from their childhood.
During a visit to her native place, the dream girl comes to know that her lover and her sister's fiancee are one and the same. So she gets prepared to sacrifice her love for her beloved sister. After some dramatical suitations the movie ends with the marriage of hero and the dream girl.
A well directed movie by K.Selva bharathy, though the story is nothing new, the treatment of the story is commendable, backed by good music, songs and comedy, make this film an entertainer. The movie is full of songs, actually 7 which are excellent.
The movie has nothing spectacular but the music and the presentation with good comedy and performances from the actors made the movie a big hit. The hero falls in love with the heroine and his marriage is settled with another woman. Finally love triumphs and the hero wins back his love...
Ninaithen Vandhai is a must-see Vijay`s movie. It is an entertaining movie. Everyone has lived up to their role. Vijay, Rambha and Devayani are the heart of the movie. They both looked good and have acted very well. Vijay has come out very adorable. The songs are nice and the locations of the movie are breathtaking. The tamil Hum Apke Hain Kaun without the tragedy...
The title itself makes the story of the movie. There is very little to talk about the story. The hero in the movie is madly in love with the disguised girl in his dreams. But his father wants to get him to get to a married distant relative. Unwillingly the hero, along with his two brothers-in-law and uncle, makes a trip to the girl's house and gets engaged. In the meantime the hero with his uncle and brothers-in-law attends a marriage and there he finds his dream girl.
Later on he moves to another place because of his job where he once again meets his dream girl and they fall in love with each other. As is usual in tamil movies, the dream girl and the girl who got engaged with the hero are sisters. But for some reason they stay apart right from their childhood.
During a visit to her native place, the dream girl comes to know that her lover and her sister's fiancee are one and the same. So she gets prepared to sacrifice her love for her beloved sister. After some dramatical suitations the movie ends with the marriage of hero and the dream girl.
A well directed movie by K.Selva bharathy, though the story is nothing new, the treatment of the story is commendable, backed by good music, songs and comedy, make this film an entertainer. The movie is full of songs, actually 7 which are excellent.
The movie has nothing spectacular but the music and the presentation with good comedy and performances from the actors made the movie a big hit. The hero falls in love with the heroine and his marriage is settled with another woman. Finally love triumphs and the hero wins back his love...
Tuesday, January 20, 1998
Kadalukku Mariyadhai, Jan, 1998
http://www.ilayathalapathyvijay.com/kadalukkumariyadhai.htm
Co-stars: Shalini, Shivakumar, Srividya, Lalitha, Radharavi, Vijai and Shaji Khan.
Director: Fazil
Music Director: Ilayaraja.
Story: Jeeva (Vijay) meets Mini (Shalini) in a book shop and their eyes meet leading to sparks of love in their hearts. Mini has a loving mother (K.P.S.Lalitha) and three brothers, James (Radha Ravi), Thomas (Thalaivaasal Vijay) and Stephen (newcomer Shaji Khan) and she is the apple of their eye. Mini is hesitant to reciprocate her love for Jeeva who steadily makes an inroad into her heart, the love affair incensing her family members who give him a thrashing each time he meets her.
Jeeva's parents are under the impression that their son is pursuing his MBA studies until his father receives a SOS from Jeeva, injured in one such beatings. His father Chandrasekhar (Sivakumar) is stunned by the developments and Jeeva's mother (Srividya) is also shocked. Jeeva refuses to part company with Mini when his father arrives with his henchmen to take him back. The Christian family wants Jeeva dead. The developments till this juncture might have found expression in earlier movies but these events have been treated with a mature head along with some comic element by Charlie and Dhamu, as the friends of the hero.
Realising that the lovers' existence is in danger, Kesavan (Charly) suggests that they find refuge in his father's (Manivannan's) fishermen hamlet and the couple elope followed by the brothers. Manivannan refuses to give them away and the brothers swear bloodshed. A registrar wedding is quickly arranged and on the eve of the wedding, the lovers learn of the unlimited love, affection and care their respective family members have for them and decide not to hurt their sentiments. They agree to part company. The fisherfolk leader is shocked first at their decision, and later understands their feelings and sends them back safely, an appreciable twist in the movie.
The best segment of the movie follows next. The elated and much relieved elders hastily arrange the weddings of their offsprings when the respective mothers learn how lonesome the two lovers are. Jeeva's mother using the excuse of returning the chain belonging to Mini, goes to Mini's house with her husband, son and his two friends and James receives them warmly.
Instead of sparks flying here the director brings into play the human sentiments, the mothers leading the show, and the camera of Anand Kuttan sharply catching the artistes at their best.
The meagre amount of dialogue merges wonderfully with those enacting them, an interesting climax. Serious looking Shalini enacts the tender role of a confused sweetheart caught between the love of her elders and that of the man who has stolen her heart without blemish. Vijay shows controlled aggression in his fights as the rivals happen to be the brothers of his sweetheart and dances with relish. His voice modulations heightens his portrayal.
Sivakumar, Srividya and Lalitha make fine contributions to the drama along with the three brothers, Radharavi, Vijai and Shaji Khan.
Co-stars: Shalini, Shivakumar, Srividya, Lalitha, Radharavi, Vijai and Shaji Khan.
Director: Fazil
Music Director: Ilayaraja.
Story: Jeeva (Vijay) meets Mini (Shalini) in a book shop and their eyes meet leading to sparks of love in their hearts. Mini has a loving mother (K.P.S.Lalitha) and three brothers, James (Radha Ravi), Thomas (Thalaivaasal Vijay) and Stephen (newcomer Shaji Khan) and she is the apple of their eye. Mini is hesitant to reciprocate her love for Jeeva who steadily makes an inroad into her heart, the love affair incensing her family members who give him a thrashing each time he meets her.
Jeeva's parents are under the impression that their son is pursuing his MBA studies until his father receives a SOS from Jeeva, injured in one such beatings. His father Chandrasekhar (Sivakumar) is stunned by the developments and Jeeva's mother (Srividya) is also shocked. Jeeva refuses to part company with Mini when his father arrives with his henchmen to take him back. The Christian family wants Jeeva dead. The developments till this juncture might have found expression in earlier movies but these events have been treated with a mature head along with some comic element by Charlie and Dhamu, as the friends of the hero.
Realising that the lovers' existence is in danger, Kesavan (Charly) suggests that they find refuge in his father's (Manivannan's) fishermen hamlet and the couple elope followed by the brothers. Manivannan refuses to give them away and the brothers swear bloodshed. A registrar wedding is quickly arranged and on the eve of the wedding, the lovers learn of the unlimited love, affection and care their respective family members have for them and decide not to hurt their sentiments. They agree to part company. The fisherfolk leader is shocked first at their decision, and later understands their feelings and sends them back safely, an appreciable twist in the movie.
The best segment of the movie follows next. The elated and much relieved elders hastily arrange the weddings of their offsprings when the respective mothers learn how lonesome the two lovers are. Jeeva's mother using the excuse of returning the chain belonging to Mini, goes to Mini's house with her husband, son and his two friends and James receives them warmly.
Instead of sparks flying here the director brings into play the human sentiments, the mothers leading the show, and the camera of Anand Kuttan sharply catching the artistes at their best.
The meagre amount of dialogue merges wonderfully with those enacting them, an interesting climax. Serious looking Shalini enacts the tender role of a confused sweetheart caught between the love of her elders and that of the man who has stolen her heart without blemish. Vijay shows controlled aggression in his fights as the rivals happen to be the brothers of his sweetheart and dances with relish. His voice modulations heightens his portrayal.
Sivakumar, Srividya and Lalitha make fine contributions to the drama along with the three brothers, Radharavi, Vijai and Shaji Khan.
Friday, September 05, 1997
Neeruku Ner, Sep 5th, 1997
http://www.ilayathalapathyvijay.com/neerukuner.htm
Co-stars: Surya [Debut], Kausalya, Simran, Raguvaran, Shanthi Krishna, Vivek & Manivannan
Music Director: Deva
Producer: Manirathnam [Madras Talkies]
Director: Vasanth
Story: The story starts off with Raghuvaran, a passport issuing officer and his wife Shanthi Krishna. Raghu accuses Shanthi of infidelity while he was away in Goa. She immediately leaves for her mother's house. Raghu tries to stop her by apologizing, but in vain. Raghu's brother is Vijay and Shanthi's brother Surya meet in a cinema theatre.
Vijay blames Shanthi to be the cause of the problem and Surya blames Raghu for the same. They keep on fighting like this throughout the movie. Meanwhile both the heroes Vijay and Surya find their own girlfriends and fall in love. Vijay is paired with Kausalya while Surya is paired with Simran. One day he finds a bundle of cash on his table and meets the person (Karan) who kept the money there.
Raghu finds out that Karan is an MLA, wanted by the police. Karan wants to leave the country to escape from the police and he needs a fake passport, since the police confiscate his passport he orders Raghu to get one for him but Raghu disagrees and calls the police instead. The MLA gets angry and promises to avenge Raghu. Meanwhile, Raghu and Shanthi apply for a divorce. child custody of their daughter Sona (Baby Jennifer), who was in her periamma's (Shanthi's sister's) house when the break up occurred, is given to the mother by the court.
One day Surya takes Sona to a fair and somehow loses her. In the confusion that follows, Sona falls from a ferri-wheel and is taken to the hospital by Vijay. She is brought to Raghu's house, once she recovers. Soon Vijay discovers that Sona has lost her hearing in the accident. Some days later Surya finds that Sona is missing. Raghu tells everyone that Sona is in his sister's house. Since Sona's custody is given to the mother, this action of Raghu's is wrong in the eyes of law. So Shanthi and Surya accompanied by a lawyer come to Raghu's house to get Sona back.
At that time, Raghu suffers a serious asthma attack, while in the bathroom, and everyone saves him. After recovering Raghu tells that Sona is not in his sister's house, but has been kidnapped by Karan who is out on bail. In the turn of events, Raghu issues a fake passport to Karan. But he doesn't want Karan to escape from the police.
And the two heroes who join hands for the first time in this movie, make sure that this doesn't happen. They save Sona who is with the MLA's wife and brother-in-law in a van, which is roaming around somewhere in the city; Finally the police arrests the MLA.
Co-stars: Surya [Debut], Kausalya, Simran, Raguvaran, Shanthi Krishna, Vivek & Manivannan
Music Director: Deva
Producer: Manirathnam [Madras Talkies]
Director: Vasanth
Story: The story starts off with Raghuvaran, a passport issuing officer and his wife Shanthi Krishna. Raghu accuses Shanthi of infidelity while he was away in Goa. She immediately leaves for her mother's house. Raghu tries to stop her by apologizing, but in vain. Raghu's brother is Vijay and Shanthi's brother Surya meet in a cinema theatre.
Vijay blames Shanthi to be the cause of the problem and Surya blames Raghu for the same. They keep on fighting like this throughout the movie. Meanwhile both the heroes Vijay and Surya find their own girlfriends and fall in love. Vijay is paired with Kausalya while Surya is paired with Simran. One day he finds a bundle of cash on his table and meets the person (Karan) who kept the money there.
Raghu finds out that Karan is an MLA, wanted by the police. Karan wants to leave the country to escape from the police and he needs a fake passport, since the police confiscate his passport he orders Raghu to get one for him but Raghu disagrees and calls the police instead. The MLA gets angry and promises to avenge Raghu. Meanwhile, Raghu and Shanthi apply for a divorce. child custody of their daughter Sona (Baby Jennifer), who was in her periamma's (Shanthi's sister's) house when the break up occurred, is given to the mother by the court.
One day Surya takes Sona to a fair and somehow loses her. In the confusion that follows, Sona falls from a ferri-wheel and is taken to the hospital by Vijay. She is brought to Raghu's house, once she recovers. Soon Vijay discovers that Sona has lost her hearing in the accident. Some days later Surya finds that Sona is missing. Raghu tells everyone that Sona is in his sister's house. Since Sona's custody is given to the mother, this action of Raghu's is wrong in the eyes of law. So Shanthi and Surya accompanied by a lawyer come to Raghu's house to get Sona back.
At that time, Raghu suffers a serious asthma attack, while in the bathroom, and everyone saves him. After recovering Raghu tells that Sona is not in his sister's house, but has been kidnapped by Karan who is out on bail. In the turn of events, Raghu issues a fake passport to Karan. But he doesn't want Karan to escape from the police.
And the two heroes who join hands for the first time in this movie, make sure that this doesn't happen. They save Sona who is with the MLA's wife and brother-in-law in a van, which is roaming around somewhere in the city; Finally the police arrests the MLA.
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