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.
All about Ilayathalapathy Vijay
Wednesday, April 23, 2003
Wednesday, January 15, 2003
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.
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.
Monday, November 04, 2002
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.
"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.
Friday, July 19, 2002
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.
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.
Sunday, April 14, 2002
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.
Sunday, December 30, 2001
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?
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
Friday, November 30, 2001
For Coca-Cola, life tastes good in Tamil
Harsha Subramaniam
CHENNAI, Nov. 28
AFTER the Manam pol dinam jamai (freak out as you wish everyday) campaign, Coca-Cola has now taken the Kushiana Vazhkai (Enjoyable life) plank.
In fact, this subtle shift in positioning is in sync with Coca-Colas global Life tastes good brand message.
Kushiana vazhkai is about celebrating innocent moments that bring cheer to our lives, says Mr Vikas Kochchar, Regional Manager, Corporate Affairs, Coca-Cola India.
The new campaign once again features film-star Vijay, reiterating the companys belief in using local celebrities. We use regional celebrities to build a local connect, says Mr Kochchar.
He explains that to keep the essence of the brand and its advertising in tune with the national strategy, the company has used local metaphors to communicate the brands message.
Even in the earlier campaign, a similar strategy was adopted. Vijay, the well-known film star, was used to establish immediate connect with the audience. Added to this was the use of gaana, a popular form of music with the youth in Tamil Nadu.
The commercial apparently boosted the brands preference score by 10 per cent, in a short time.
This has, perhaps, prompted the company to use gaana music and imagery once again in the new commercial.
The response to our previous campaign reaffirmed our belief in using Gaana as the creative route in Tamil Nadu,
says Mr Kochchar.
The new ad film produced by Rajiv Menon, has been on air since Diwali.
The company hopes that this commercial will make a greater impact on Tamil audience.
Coca-Colas campaign in Hindi featuring Hrithik Roshan with the Life ho to aisi punchline, has been on air for over a month now.
Tuesday, November 20, 2001
`Chennai Dreams' by Coke
Our Bureau
CHENNAI, Nov. 19
AFTER A.R.Rahman's Bombay Dreams, it is now Chennai which is dreaming. As a part of its regional language communication strategy, Coca-Cola India is launching a new advertising campaign for Tamil Nadu called Chennai Dreams.
Conceptualised by Orchard Advertising, a Bangalore-based agency, the advertisement is a blend of gaana style of music and ballet. Targeted at the youth, the ad features actor Vijay, a youth icon in Tamil Nadu, and Katrina Kaif, a model. The ad, directed by Rajiv Menon, will be aired on leading TV channels in the State.
At the launch, Mr Rajesh Mani, Region Marketing Manager, Coca-Cola India, said that the new campaign based on gaana music is in tune with the brand's strategy of "building a connect using the relevant local idioms." This is the third of a series of the brand's campaigns in Tamil, which has used gaana music. Mr Mani said that the previous two campaigns on similar lines had worked wonders for the brand and increased sales by about 50 per cent.
"We won the Effi award from Advertising Club, Mumbai for this campaign," he added.
Mr Mani also explained that though the brand value of Coca-Cola remains the same globally, it is continuously searching for local insights for effective communication.
For instance, the company used an exhaustive process to zero-in on gaana as an effective mode of expression among the youth in Tamil Nadu. As Thomas Xavier, Executive Creative Director of Orchard explains, "We were clear that the need of the hour was not for an ad film but for a Tamil feature film in 60 secs."
Wednesday, November 14, 2001
Shahjahan, Nov 14th, 2001
http://www.hindu.com/thehindu/fr/2001/11/23/stories/2001112300970202.htm
THE TITLE says it all- the hero lives for love. He is a do-gooder and a virtual god for lovers - because his mission is to surmount all odds and unite every loving pair.
Youth, romance and vibrant music seem to sell at a premium these days. Super Good Films' ``Shahjahan'', written and directed by Ravi, has all these in ample measure. Ashok (Vijay) is the youngster whom lovers rush to whenever they face opposition at home. And Ashok, who is still on the look out for a job, pledges or sells his chain every time he has to unite a pair.
Ashok falls in love with Mahe (Richa Palot) and bides his time (he has a reason for it) to pour his heart out. Soon it is too late. Unwittingly he helps his friend Raja (Krishna) win the heart of Mahe. The lovers come together but there is a lot of unbelievable bloodshed in the bargain.
The climax reaches ridiculous levels, when in broad daylight, at Chennai's Central Station, there is an intense, dangerous fight between the henchmen and the hero, but till the end no one intervenes and there is not one policeman in sight.
Going by the incidents one gets the feeling that all daddies are abominably bad - they slap the wife when the daughter strays and have a bunch of hooligans with them always to stop the marriage. Actresses like Janaki Sabesh donning such insipid roles only adds to the irritation.
New face Richa has little to do but look good. Vijay sparkles in the role of Ashok and Krishna fills the bill of a perfect non-action hero.
Vivek's comedy borders on lewdness and if there is message (!) it could have been better handled.
The percussion in ``Minnalai Pidithu...'' scintillatingly sung by Unni Menon is a foot tapping piece. ``Shahjahan'' could do for Manisharma what ``Narasimha'' did not - as far as Tamil cinema is concerned.
Of course, one cannot but be mesmerised by the lyrical prowess of Vairamuthu, in five out of the six songs.
THE TITLE says it all- the hero lives for love. He is a do-gooder and a virtual god for lovers - because his mission is to surmount all odds and unite every loving pair.
Youth, romance and vibrant music seem to sell at a premium these days. Super Good Films' ``Shahjahan'', written and directed by Ravi, has all these in ample measure. Ashok (Vijay) is the youngster whom lovers rush to whenever they face opposition at home. And Ashok, who is still on the look out for a job, pledges or sells his chain every time he has to unite a pair.
Ashok falls in love with Mahe (Richa Palot) and bides his time (he has a reason for it) to pour his heart out. Soon it is too late. Unwittingly he helps his friend Raja (Krishna) win the heart of Mahe. The lovers come together but there is a lot of unbelievable bloodshed in the bargain.
The climax reaches ridiculous levels, when in broad daylight, at Chennai's Central Station, there is an intense, dangerous fight between the henchmen and the hero, but till the end no one intervenes and there is not one policeman in sight.
Going by the incidents one gets the feeling that all daddies are abominably bad - they slap the wife when the daughter strays and have a bunch of hooligans with them always to stop the marriage. Actresses like Janaki Sabesh donning such insipid roles only adds to the irritation.
New face Richa has little to do but look good. Vijay sparkles in the role of Ashok and Krishna fills the bill of a perfect non-action hero.
Vivek's comedy borders on lewdness and if there is message (!) it could have been better handled.
The percussion in ``Minnalai Pidithu...'' scintillatingly sung by Unni Menon is a foot tapping piece. ``Shahjahan'' could do for Manisharma what ``Narasimha'' did not - as far as Tamil cinema is concerned.
Of course, one cannot but be mesmerised by the lyrical prowess of Vairamuthu, in five out of the six songs.
Monday, April 16, 2001
Badri, Apr 16th, 2001
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.
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.
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?
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