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Vellore Mavattam

2011-10-05T16:39:00.004+05:30

Vellore Mavattam is a 2011 Tamil action film written and directed by R. N. R. Manohar, whose earlier flick was Maasilamani. It stars Nandha and Poorna in the lead role and Santhanam, Azhagam Perumal, Jayaprakash, G.M.Kumar, Singamuthu, Mayilsamy, Sathyan, Vaiyapuri and Alex in the supporting role, Featuring music by Sundar. C Babu, it is produced by AGS Entertainment Kalpathi S. Agoram along with his Brothers Kalpathi S.Ganesh and Kalpathi S.Suresh., the film released on 5 October 2011 on the occasion of the festival of Ayudha Pooja.

R.N.R Manoharan speaks about Vellore Mavattam:

R N Manoharan who directed Maasilamani is now directing a film titled Vellore Mavattam. While speaking about this film, he said,” This film is not about an arrogant police officer. This film is about a youngster who is the son of a farmer and how he becomes an IPS.

Nanda who is donning the role of Muthukumar IPS will remind you of your son or next door boy. Once I decided that this is the story, I immediately contacted D G P Vijaya Kumar, D I G Pon Manickavel and S P Maurya and discussed with them a lot and finally I learnt a lot of things from them. I also stayed in the Hyderabad Police Academy and spoke to the trainees and gathered a lot of information from them.

After this only I finalized the story. In one film I cannot pour all the things. I have mixed entertainment and sentiment in the right proportion. Why I have given the back drop of Vellore is because normally police stories in our films happen only in Madurai, Nellai and southern districts.

So I decided to go to a different place. I choose Vellore to be the backdrop since this place formed the basis for freedom struggle. In this serious film, Santhanam and Mayilsamy will make people laugh intermittently.”

Nandha speaks about Vellore Mavattam:

More often than not, you may have seen cops flaring up their nostrils and rolling out punch dialogues but here is a different one. This one is Nanda and he is coming up with Vellore Mavattam wherein he plays a cop. Speaking about it, Nanda said that his role is very soft spoken and added that he has not even raised his voice in the film except one scene.

Movie Review:

Sometimes you feel the necessity to name the movies in Tamil has made naming convention a lot better. But it’s not enough the name of a movie catches your fancy, is it now? Case in point; Velur Mavattam. As much as the title promises to be a gritty action thriller about a police officer’s fight to bring the gangsters in the heartland of Tamil Nadu to books, Velur Mavattam tumbles into greater levels of predictability.

Nanda plays Muthukumar IPS, who hails from a poor family. His father is a farmer who toils for his daily life and is particular that he does not want his son to get stuck in a similar life. So the son studies arduously, becoming an IPS officer. Life as an IPS is not a cake walk and what it offers to Muthukumar as an IPS officer is what Velur Mavattam all about.

It’s very tough to make a straightforward story work, exactly the case here. Besides, the movie also has resemblances of many other movies from the past; of the top of our head, Saamy and Singham - only with no vitality. While the first half travels like a slug, the second half brightens up just a little bit. But that happiness does not last long as it plummets to a foreseeable climax.

Muthukumar studies hard, passes the IPS exam with flying colors, falls in love and marries, tides over a quarter-life crisis of sorts and goes back fighting evil. This is all that happens in the movie and in that particular order. And to say the movie is an action entertainer, the director hasn’t paid enough attention to the action, or the entertainment. He also makes an actor with potential like Nanda, remain stony throughout the movie, since he plays a cop.

Heroine Poorna doesn’t have much scope in a hero centric story. Others, including Santhanam and Azhagamperumal are just fillers. It’s surprising to note that even Santhanam couldn’t manage to pull a few laughs.

Sundar C Babu’s background score and music play spoilsport and ends up lackluster. Neither the songs nor the movie’s background score do anything to pace up the movie.

Formulaic and predictable are two words that can describe Velur Mavattam. The director seems to have set out to portray the life and struggle of an honest officer in this big, bad world. However, while drawing a line between commercial and realistic cinema, he has missed out major chunks of portions screaming for attention leaving the movie a predictable fare.

Courtesy: Behindwoods

Nandha dons a khakhi for the first time and plays a rough tough cop in 'Vellore Mavattam'. At a time when filmmakers go around Madurai and its interior villages, director RNR Manohar of 'Masilamani' fame has chosen Vellore as the movie's backdrop and has used its geographical locations well to deliver a slick entertainer.

Although cop stories need no introduction in Tamil cinema, the swift screenplay of 'Vellore Mavattam' sets it apart. Nandha plays an IPS officer who fights not just against evil men in the society or anti-socials, but corrupt men within the police department too. Poorna plays his wife while the cast includes Azhagam Perumal, GM Kumar, Santhanam and Mayilsamy.

Muthukumar (Nandha) is the son of a vegetable vendor in a village. His father wants him to study well and come good in life. He strives and becomes an IPS officer. After a brief stint of training at National Police Academy, Muthukumar is appointed as Additional Superintendent of Police in Vellore district. Meanwhile, he meets Priya (Poorna) and both fall for each other. They eventually get married.

Muthukumar's problems start after he aspires to make Vellore a haven of peace. But there is Gurumurthy (Azhagam Perumal) who with his nexus with politicians and police officers play spoilsport on Muthukumar's dreams. Nandha is bubbly, agile as young police officer. He looks trim and seems to have done his home work well. He has enough stunt sequences too. Poorna as Nandha's wife has a small role to essay but she makes an impression with the little role she has. Santhanam as constable Kumaravelu tickles your funny bone, but at places goes overboard with double entendre.

GM Kumar and Mayilsamy form part of the cast. Azhagam Perumal plays a baddie. Cinematographer Vettri has captured Vellore district well, while editor Suraj Kavee tries to liven up the pace thanks to his scissors. His crisp editing deserves special mention. Sundar C Babu's music is peppy. Produced by AGS Entertainment, 'Vellore Mavattam' is good in most parts, although the script may set in a sense of deja vu, it's quite entertaining.

Courtesy: Indiaglitz

Avan Ivan

2011-06-17T10:00:00.000+05:30

Avan Ivan is a 2011 Tamil comedy-drama film written and directed by Bala, who with this project directs his fifth feature film. The film stars Vishal ,Arya, Janani Iyer and Madhu Shalini in the lead roles where as Surya and Reema Sen playing the Guest role. The cast also includes R.K, Ambika, Jayapradha, Singampuli, Krishnamoorthy and Anand in the supportnig role . The film, produced by Kalpathi S. Agoram's AGS Entertainment, features music by Yuvan Shankar Raja, cinematography by Arthur A. Wilson and editing by Suresh Urs, released worldwide on June 17, 2011.

Plot:

Set in backdrops of Theni, Avan Ivan is about the relationship between two boisterously playful half-brothers Walter Vanangamudi (Vishal Krishna) and Kumbudren Saamy (Arya). Both brothers are constantly fighting and try to outdo each other with the encourgament of their mothers. Both mothers are foul mouthed and have a submissive husband (Ananth Vaidyanathan). Walter's mother (Ambika) encourages her son to steal and continue their family tradition and even ironically considers it a godly crime if he does not steal. Walter an asipiring actor (calls himself a Kalaignan) is hopeless at being a criminal in comparison to Kumbudren Samy who rubs his success in Walter and his step mother's face. The Zamindar (G. M. Kumar) who is dearly referred to as 'Highness' by the community takes an affinity towards Saamy and Walter and treats them as his own family. He is constantly encouraging Walter to leave behind his criminal acts and take up acting seriously and to be friendly towards his brother.

Walter is smitten by Police Constable Baby (Janani Iyer) from whom he attempts to steal after being dared by his brother to prove himself. She finds him completely amusing and eventually falls for him and feels that he is not like a normal thief. On several occasions he returns stolen goods from his home and from Kumbudren Samy so that she would not be fired from her job and goes to great lengths to impress her. On the other hand Kumbudren Samy falls for a college student Thenmozhi (Madhu Shalini) who is intimidated by his rough ways at first but she too reciprocates his love later on.

Everything is going all and well for the protagonists until certain issues create trouble for the half-brothers, which are resolved quite easily. For example when the Zamindar is insulted by a police inspector Kumbudren Samy and Walter track him down, puncture the tyres of the police vehicle and bash up all the police travelling in the vehicle. While Walter easily manages to knock them down Kumbudren Samy is not as strong physically and has to be saved by Walter from nearly being killed. When police backup is called Walter tells his brother to run away with his friend while Walter takes the police truck and dumps it in the forest. Kumbudren Samy is caught by the police inspector who knows him well and after acting like he swallowed a blade so he can see Thenmozhi once before going to jail he is rushed to the hospital sees her and fools the entire police force even though Baby is quite suspicious. Kumbudren Samy tries to bribe the doctor to lie but she tells the police constable who only pleads with the him but later gives up and releases him.

Actor Suriya makes a guest appearance as himself who is at the school function to promote educational awareness and his Agaram Foundation. Just as he is about to leave the Zamindar orders him to stay to witness Walter's acting skills. Walter initially tries to do some kicks and fails at singing an English song leading the crowd to Boo and Suriya to try and leave. However this all changes as Walter shows off his depictions of the nine emotions (Navarasas) and impresses everyone. His last act where he cries and is extremely emotional makes everyone cry and even Kubedrem Samy is moved by this. The entire crowd cheers and Suriya comes back onto the stage and congratulates Walter as Kumbedren Samy looks on in astonishment. A drunk Kubredren Samy then reveals to a drunk Zamindar that he actually does love his brother and that all the anger and hate it is just an act. Then enters the villain (R. K.) who illegally smuggles animals to Kerala for meat and is this is found out by the Zamindar and the authorities are informed and he loses his animal farm and is taken by the police amid media fare.

Kumbedren Samy then brings Thenmozhi to the Zamindar's house to introduce them to each other and the Zamindar blesses them. However Walter comes in and identifies Thenmozhi as the Zamindar's enemy's daughter and tells her to leave. Kumbudren Samy pleads with the Zamindar saying that he did not know so the Zamindar tells him to break it off with her to which he refuses and hurts the Zamindar deeply by telling him that he doesn't have a family and no one loves him so he would never understand. The angered Zaminder throws out Kumbudren Samy and Walter as well when he tries to defend his brother. The Zamindar then becomes extremely drunk and is later seen sitting in the rain and both brothers and their family brings him in and all is forgotten and forgiven. The Zamindar even signs over his land to Thenmozhi'a father who was trying to get a hold of the land and organises for their marriage.

The villain who had to face the police raid due to the Zamindar kidnaps the Zamindar and makes him run for his life naked and ends up flogging him inhumanely until he is unconscious. The Zamindar is then hung to death from a tall tree near the river. When the town sees this everyone is astonished, Walter and Kumbudren Samy are devastated and almost collapse with grief. Walter retrieves the Zamindar's body from the tree and then his funeral procession is shown with both brother's dancing madly while very drunk. Kumbudren Samy's face is shown to be extremely scarred and injured. A flashback then shows that he went to fight the smuggler responsible for the Zamindar's death just before the procession but was flogged and beaten severely.

Then another flashback of Walter is shown and it is revealed that Walter managed to bash up the smuggler and his men. Just as the Zamindar's body is about to be burnt it is shown the smuggler responsible for his death has been tied down under the platform with the Zamindar's body and is burnt to death along with the Zamindar. The film ends with both brother's walking along together at peace with each other.

Movie Reviews:

Bala’s highbrow emotional dramas have gained critical acclaims from all ends and actors being a part of such films have felt it as a blissful opportunity that takes them at a jet-speed progression in their career graph. Of course, Sethu, Nanda, Pithamaghan and Naan Kadavul have been the ample evidences that gave a major break for the actors Vikram, Suriya and Arya. Naturally, the surprising look of Vishal as a squint-eyed lad made it clear that the actor is one to go through the process this time and so is Arya, who has already experienced the Midas-touch of Bala with Naan Kadavul.

In Avan Ivan, Bala does not go far from his usual paradigm as he sticks ardently to the formulas of his previous movies. However at the same time, the filmmaker seems to have opted for a slightly different climax from his previous movies.

Set in backdrops of Theni, Avan Ivan is about the relationship between two boisterously playful half-brothers Walter (Vishal) and Kumbudren Saamy (Arya) who are like poles apart constantly involved in nagging but are still fond of each other, and a Zamindar (GM Kumar).

Although we have the signature as ‘A Film By Bala’ during final credits, it’s worth mentioning that the film completely belongs to Vishal. His power-packed performance leaves us astonished. Thanks to Bala for travelling into unknown territories of Vishal’s panorama. The actor is in stark contrast from his previous films and if you’re curiously looking out for his best shots, it starts right from his introduction song, where he shakes his legs dressed up like a woman. But the ultimate master-stroke is where he exhibits Navarasas on the podium as he walks away carrying great appreciations for nine different facial expressions.

Not to miss his breathtaking action sequences, it is much evident that he must have gone through toilsome moments for these sequences. Unlike Vishal, Arya doesn’t have much scope over performance, but manages to remain under spotlights with his rib-tickling comedy tracks and dialogue delivery. His rollicking behaviorism throughout the film and reaction to an unbearable shock during climax are clap-worthy moments. The versatile filmmaker-actor G.M. Kumar as the world-weary Zamindar steals the show with his effortless performance. The scene where he expresses his anger towards Vishal and Arya is a sample. G.M Kumar also joins the list of very few actors who dared to go bare in films.

It’s too ludicrous to see smart girls falling for the unrespectable guys and is so disappointing to have an intellectual filmmaker delineating such characters. Janani Iyer and Madhu Shalini do not have much to do and yesteryear actress Ambika exerts her proficient act as a mom, who smokes beedi and demands her son to save up some liquor for night.

The writing, which lets down the movie big time, turns out to be erroneous, as the screenplay remains vague and directionless. One could literally become puzzled and impatient over the proceeding of the story until a twist that appears only during last 30minutes of the movie.

On the technical front, Arthur Wilson’s cinematography carries rich flavors, and the exotic locations of Theni are a visual treat. Disappointing to see few promising tracks - ‘Avanpathi’ and ‘Oru Malayoram’ missing in the movie. Yuvan’s background score does influence the visuals with violin, veena and strings being well orchestrated.

Overall, Avan Ivan remains as a package of brilliant performances by actors, but stumbles halfway down with its writing.

Courtesy: Behindwoods

Director Bala weaves characters and movies out of common people, many of whom may be considered undesirable and avoidable by the general public, e.g. gravedigger, drug peddler, sex worker, cannibal; Bala could keep pulling out these characters from our everyday lives to make movies. In Avan Ivan, it's a light-hearted zamindar, two thieving half-brothers, their foul mouthed moms and an 'everyone knows everyone' countryside.

A sizable chunk of viewers who have experienced Bala’s movies, consider him crude and heartless in creating his shady characters; but the underlying truth is that he has showed time and again on screen that these undesirables too can laugh, love and have hopes and aspirations like anyone else. Bala has been the USP for his movies, but for Avan Ivan, it's also the squint eyed Vishal and the shaggy Arya.

G.M. Kumar plays the dethroned zamindar, who still rides on the pride that his kingdom once owned the lands around him. He cares for his villagers like his own subjects, just as his forefathers did. Half-brothers Walter Vanangamudi (Vishal) and Kumbideran Saamy (Arya) are thieves. That’s right! 'Kumbideran Saamy' is Arya’s pseudonym, which he believes will make the pestering cops refer to him with respect, even if they don’t mean to.

Arya, the younger brother, is an elusive thief with a quick mind, while Vishal is a simpleton who tries his hand at thievery, but with little success. Vishal’s heart lies in plays, acting and dance, which makes him believe he is more of an artist than a thief. Both brothers are the trusted stooges of the zamindar, who lives alone in his humongous bungalow. Though they are seen on each side of the zamindar, the brothers do not see eye to eye, and Arya constantly sniggers at Vishal for his effeminate side.

Bala’s characters are powerful, but in this film, they seem to lack a gripping storyline compared to his earlier movies. Vishal as the gender-confused individual, movingly brings out the man and woman in his character. He also expresses exceptional talent as a reluctant thief, who feels he is better off as a stage performer. Arya as Kumbideran Saamy is witty, assertive and shows no remorse in snubbing his brother, Arya’s coming of age role we can say. Bala always injects an amount of animal into his characters. Vishal’s reptile-like moves and Arya’s baby baboon type movements again prove Bala’s signature style.

Like his earlier movies, the 'undesirable', or in this case the undesirable pair, stands up against a bigger enemy. In Avan Ivan it’s RK, who runs an illegal slaughter house. When the zamindar calls upon the police and animal activists to raid RK’s illegal trade, RK turns against the zamindar, which ultimately pulls Vishal and Arya into the melee.

Vishal, Arya, G.M. Kumar and veteran actress Ambika, as Vishal's foul-mouthed, theft encouraging mother, are the prominent characters. Janani Iyer as Constable Baby has a role to some extent, but Arya's pair Madhu Shalini's portrayal is vague. Bala's signature climax fighting scene that seem like the world is coming to an end have been religiously added. Arthur Wilson shoulders Bala's love for the luscious landscapes of Theni, while Yuvan's music combined with Vishal and Arya's dance numbers are straight out of the streets. Avan Ivan is a good watch, hence Bala has successfully reused his tested formula.

Courtesy: Galatta

Engeyum Kadhal

2011-05-06T15:08:00.005+05:30

Engeyum Kaadhal is a 2011 Tamil romantic musical film written and directed by Prabhu Deva that stars Jayam Ravi and Hansika Motwani in the lead roles. Featuring music by Harris Jayaraj, it was produced by Kalpathi S. Agoram and released on 6 May 2011 to mixed reviews.The story revolves around a girl living in France who falls in love with a boy coming from India.

Plot:

Kamal (Jayam Ravi), a young billionaire, doesn`t believe in love. He works hard for 11 months and takes a month`s break from all the work related commitments. Celloist Kayalvizhi (Kayal for short or Lolita for Kamal) (Hansika Motwani) believes in true love and is highly fascinated with Indian culture. Then she sees Kamal one day and it is love at first sight for her, but before she can follow him he gets into his car and goes away. Her father Rajasekhar (Suman) runs a small detective agency in France and Kayal often reads her father`s case files for interesting stories. One day, Rajasekhar gets a new client (Sonu Gates) who wants to know about his girlfriend`s mystery man. After a brief investigation, Rajasekhar finds that his client`s girl friend is dating Kamal. Sonu gets angry and decides to kill Kamal. Kayal overhears the conversation and deciding to save them, rushes to their hotel.

Sonu has sent some men to kill Kamal and he is on his way there. When Kayal reaches Kamal's room she finds the door locked from inside. Without knowing what to do Kayal tries to get inside through the balcony. When she was about to enter she hears a gun shot and faints in the balcony. By this time sonu's girlfriend has escaped from there. Just when Kamal is about to win the fight Sonu enters the room and threatens Kamal with a gun. Then he searches for his girlfriend he can't find her, instead he find Kayal in the balcony. Then he thinks that Rajasekar has made a mistake and apologizes to Kamal. Understanding that Kayal has saved him, he tries to get to know her better during their incidental meetings and even though Kayal tries to resist she cannot. Kamal leaves Paris for some board meetings and Kayal is heart broken. When he returns he doesn't remember her immediately even though she has been waiting for him. Kayal tries to make Kamal love her by pretending to have many boyfriends. Kamal does get a bit jealous and he decides to get a detective to know everything about her and her possible boyfriends. Initially the detective he chooses is Rajasekar Kayal's dad. Kamal doesn't know Kayal's name, but he says about all her fake boyfriends. Rajasekar realizes that the girl's boyfriends' names are same as the names of the people in his case files realizes that Kamal is actually inquiring about his daughter, Kayal as only she has seen them.

He tells Kamal about it and asks him to leave his daughter as he always does when someone falls in love with him. Kamal agrees and tells Kayal that he will be leaving for Germany and that he doesn't know when he will return. Kayal is heartbroken. Kamal tries to forget her but find that he cannot as he realizes that he too loves her. So he returns to Paris and finds her. But Kayal is angry with him and walks away. Kamal runs after her saying that he is in love with her and will never leave her and they will be together thereafter.

Movie Reviews:

Set against the beautiful backdrop of Paris, the world capital of love, Engeyum Kadhal directed by Prabhu Deva and produced by A G S Entertainment, pivots around LOVE, a theme which could be relatable to a wide section of the audience. The film languorously opens up with the Engeyum Kadhal number with Prabhudeva’s slow motion movements criss-crossing the various lovers in Paris and the introduction of his lead characters.

EK is about the rich hero Kamal (Jeyam Ravi) who works hard for 11 months and relaxes for one month in a year and what happens when he meets Kayal Vizhi (Hansika) in one of such sojourns. As the name suggests, it is love love and love everywhere and Prabhu Deva has used this premise to tell his story and the three major components which help him in this undertaking are pleasing cinematography, vibrant music and uber-chic costumes.

Nirav Shah takes us round the breathtaking France and other overseas locales in an enjoyable fashion and Nalini Sriram’s costumes bring about the rich and the trendy look of the lead characters in a fine manner. Harris Jayaraj’s mostly mellifluous numbers are also one of the key positive contributing factors to EK. Having said that, EK almost appears like a musical with a song being thrown in every now and then and Nenjil Nenjil, Nangai and Thee Illai emerge winners from the group.

Although Prabhu Deva has such major supporting features by his side, he has failed to utilize them to the fullest. The intentions may be worthy but the execution is frivolous. This is a clear case of a weak content failing a movie despite support from other departments. The screenplay is given a short shrift by the director and EK goes south in the engrossing scale too.

The love between the lead characters is very shallow and EK never makes you invest enough emotions in its characters. EK is also plagued by feeble characterization. The premise of the film may be soaked in love but the reason why the lead pair falls in love with each other appears very flimsy and lacks depth resulting in a flat and abrupt climax. Added to that, there is no chemistry between Ravi and Hansika.

In the name of comedy Raju Sundaram is irksome and Suman is completely wasted. And the boy who is shown to have a crush on Hansika is a caricature. The lip sync of the heroine is not in tune and the voice of the dubbing artist is highly pretentious. There are not many redeeming factors which makes the two hour and five minutes film seem much longer than its actual period.
Jeyam Ravi looks smart and scores well in the dancing department. It is also interesting to hear him take a dig at his own voice and the ticket checking scene in the train is delightful. But unfortunately such patches of goodness are far and few in between and the film fails to connect.

Courtesy: Behindwoods

Maatraan

2011-02-26T16:42:00.006+05:30

Maatraan is an upcoming Tamil action film to be directed and co-written by K. V. Anand and scripted by the writers of Subha. It stars Surya Sivakumar in the lead role will feature music by Harris Jayaraj. The film, to be produced by Kalpathi S. Aghoram along with his Brothers Kalpathi S.Ganesh and Kalpathi S.Suresh. The movie is currently in its pre-production stage and slated for release in 2012.

Payanam

2011-02-12T11:24:00.000+05:30

Payanam is a 2011 Indian Tamil thriller — drama film written and directed by Radha Mohan. The film deals with a flight hijacking incident. It stars Nagarjuna in the lead role along with an ensemble cast including Prakash Raj, Poonam Kaur, Sana Khan, Iqbal Yaqub, Brahmanandam, Rishi, Saran, Ravi Prakash, M.S.Bhaskar, Manobala, Prithviraj, Thalaivasal Vijay, Elango Kumaravel and Bharath Reddy amongst others. Produced by Prakash Raj on behalf of Silent Movies and the Movie is distributed and released by AGS Entertainment Pvt Ltd and Tirupathi Brother Film Media Pvt Ltd, Payanam was released on 11 February 2011

Movie Review:

At a time when film makers are involved in churning out products based on romance, revenge or rural based themes, here is director Radha Mohan taking the audience on a different journey which is even different from his earlier enterprises. The theme of hijack and rescue are not entirely new to film industry but what makes this offering of Radha Mohan stand out is that he has laced the action/thriller with humor.

A passenger flight which includes an actor, a doctor, a politician, a priest among others is being kidnapped by a group of terrorists who force the plane to be taken to Rawalpindi but as fate would have it, the plane lands in Tirupathi due to engine failure. Negotiations begin between the government and the terrorists who demand the release of Yousf Khan, a dreaded terrorist in jail.

Vishwanath (Prakash Raj), the bureaucrat negotiating on behalf of the government and Major Ravindra (Nagarjuna) the commando for rescue operations land in the fray along with other senior bureaucrats. Meanwhile the government decides to release the terrorist and he is being brought to Tirupathi. Rest of Payanam is about how this hijack and rescue drama is brought to an end with interesting events dotting its path.

Payanam unfolds rather slowly and takes its time to garner momentum. However from the moment, Nagarjuna takes control of the affairs, it picks up pace with an impressive last 20 minutes that elevates the suspense quotient.

Through various sequences Radha Mohan brings out the typical bureaucratic procrastinations, the irresponsibility of the press to go to any length to sensationalize an issue and the loopholes in the system. On the emotional side, he showcases the latent and impotent anger in common citizen and the diverse mindsets of people caught in such a situation in a realistic manner. Radha Mohan takes digs at the film world wherever he gets a chance and they are indeed hilarious. Gnanavel’s dialogues lean more on levity which earns applause in places.

Nagarjuna after a long gap in Tamil films, appears as the National Security Guard and brings out a neat portrayal along with Bharath Reddy. Prakash Raj as the helpless bureaucrat Vishwanath fits his role. Among the various passengers, the ones who stand out in performance is Thalaivasal Vijay followed by Kumaravel and Chaams. Bhramanandam as the film director impresses with his small cameo and the artist who doubles up as Yusuf Khan is amazing. Chaams as the ardent fan of actor Chandrakanth (Prithviraj) brings the roof down with his adulation and expectations of the star and the way he mouths his hero’s punch dialogues. Later on the scorn on his face on realizing his matinee idol is after all a worthless normal man is brilliant.

There are no songs in the film and Praveen Mani’s RR brings out the desired mood. Art director Kathir needs a special mention to have recreated Tirupathi airport and the authentic interiors of the plane. Cinematographer Guhan’s camera works in tandem with the mood of the film with his right kind of angles and lighting.

It is strange to note that, few passengers seem to enjoy the hijack drama and do not show any kind of anxiety towards what is happening. One may also wonder whether the hijackers would be lenient enough to allow a mimicry session on board in the midst of an event of such a serious proportion. Although humor shares equal space with action and suspense, a slight swaying on the lighter side dilutes the serious effect a wee bit which could have been taken care of.

Courtesy: Behindwoods

Yudham Sei

2011-02-04T16:52:00.000+05:30

'Yudham Sei' is a crime thriller written and directed by Mysskin. It stars director Cheran in the lead role of an intelligence police officer along with debutant Dipa Shah. The story is about a CBI police officer in search of a serial killer. Deepa Sha will be seen as an assistant to Cheran. Director Marimuthu who burst on the scene with the film 'Kannum Kannum' plays the second officer to Cheran.

Early 2010, once his planned film with Kamal Haasan was dropped, Mysskin didn’t want to waste the time and immediately announced ‘Yudham Sei’ for producer Kalpathi Agoram.

When the film was announced there was a buzz saying it is a sequel to ‘Anjathey’. But the producer of ‘Anjathey’ Namichand Jhabak denied and said the similarity in the two films is limited only to the hero playing a cop and nothing beyond. He also said that he has not given the rights to make a sequel to anyone.

The other major stars of ‘Yudham Sei’ are Y. Gee. Mahendra, Lakshmi Ramakrishnan, Jayaprakash, Marimuthu, Yugendran and Shruthi.

Sources say Y Gee Mahendran is playing a role which he has never done before and it would shock and surprise the audience simultaneously. Actress Lakshmi Ramakrishnan is said to have tonsured her head for her ‘once in a lifetime role’ in the film.

Like Mysskin’s all other films, this too has a trademark kuthu song and the song features Director Ameer, Neetu Chandra and writer Charu Nivedita dancing for a ‘gaana kuthu’ song. Interestingly the lady in the song Neethu Chandra will also be seen in yellow sari as Malavika and Snigdha in Chithiram Pesuthadi and Anjathey respectively.

Mysskin who introduced Sundar C Babu in 'Anjathey' is introducing another music director Krishna Kumar with ‘Yudham Sei. Krishna Kumar has changed his name to ‘Ke’ for films. Ke has made the music for many short films and documentaries.

Sathya who was an assistant of P C Sriram is handling the camera. Action Prakash is in charge of stunts. ‘Chitthiram Paesudhadi’ Amaran handles Art Direction.

‘Yudham Sei’ is an anticipated film, more so because of the coming together of two classy film makers -Cheran and Mysskin. Rajinikanth who saw an exclusive premiere of ‘Yutham Sei’ recently was very impressed by the film. Rajini felt the film is too good and would definitely work big time with the audiences.

The audio of ‘Yudham Sei’ is being released on January 24 and the film will hit the theatres across the world on February 4.

Movie Reviews:

No wonder superstar Rajinikanth has awarded 100% marks to celebrated director Mysskin's cop movie Yudham Sei (Wage War), produced by Kalpathi S. Agoram under the banner of AGS Entertainment.

Unlike numerous cop movies in the past that normally travel chop-chop like a bullet train from top to bottom with templated suffocating 'mass ingredients' (superman stunts, punch dialogues and 'whatever-else-can-be-added'), Yudham Sei has something very unique: a simple and classic way of unfolding the story at a comparatively slow pace WITHOUT losing the audience's interest. Let's say, as real as normal life! Though the film can be labeled a cop movie or a crime thriller, an interesting thing happens in the second half when the film simply "ignores" its cops and takes the form of an emotional, family thriller by addressing the anguish and dread of every common man living in a vitiated society. It gives a moment of repose for the audience to contemplate on a crucial question posed by its one of the central character Judas (Jayaprakash) at his nearing death: "What will you do to the men who gangraped your only daughter? Won't you tear them apart?" Whatever your answers, by the second half, the film slowly leaves its identity as a cop movie and jumps tracks into a thought-provoking case study of a well-settled family which turns against the whole system. In this sense, Yudham Sei is definitely neither a pukka cop movie nor an emotional family thriller. It's a hybrid. Is it this a new genre? Will it bear fruit at the box office or will it remain bare? Read on...

The film begins in typical Mysskin style. A young woman tries to hire an auto rickshaw at night in pouring rain, but the auto driver refuses to take her. When she starts to walk away, she sees an unconscious girl in the auto rickshaw and inquires about her. Suspicious over the whole situation, she makes a call from her mobile phone, but is attacked by the auto driver. Later, we see random cardboard boxes all over the city containing severed human hands.

Enter JK aka J. Krishnamoorthy (Cheran), a dull CB-CID cop tormented by the death of his parents in an accident and his sister's sudden disappearance. He has been searching for his sister for three months without any result. Now he wants resign and go looking for his missing sister. His superior Chandramouli refuses to accept his resignation and insists that he start investigating the sensational case of abandoned body parts.

JK accepts the case unwillingly and forms a team, comprising sub-inspectors Prakash, Tamil (Dipa Shah) and forensics expert Judas Iscariot (Jayaprakash). While the probe is on, more severed hands are found in public places and young girls begin to disappear around the city. Is there any relation between these two events? How does JK find the links between them and trace the criminals? What is their intention? Answers to these questions form the rest of the film.

The best thing about Cheran as JK? Though he has many action scenes in the film, including an impressive fight using just a nail cutter, he performs them convincingly without turning on a super hero image. His mannerisms are apt as a troubled police officer and definitely, it's a never-seen-before performance by him. Jayaprakash as forensic expert Dr. Judas Iscariot is convincing. Y. Gee. Mahendran as Dr. Purushothaman and Lakshmi Ramakrishnan as Annapoorni, who decide to avenge the death of their daughter, are up to the mark; Lakshmi Ramakrishnan's performance deserves special mention. The film has neither romance nor sentiments nor masala (with the sole exception of a four minute item song by director Ameer and Neetu Chandra).

Coming to the technical parts, Sathya's cinematography and K's (Krishna Kumar) background score are the major highlights. Sathya's camera angles are fantabulous and K gives remarkable support. However, K could have avoided some strange pieces of music here and there!

About the slips, it is difficult to quickly grasp how the suspects are interlinked in the story as they are too many; most of them don't even make a proper screen presence. So one needs to pay keen attention or must watch the movie again to get a clear grasp of the plot. Second, it looks like the film is urging the victims to wage an open war (Yudham Sei) against crime that naturally violates the law and order of the land. However, this is also excusable, since super hits like Unaipol Oruvan already portrayed the same angst by a common man. Third, the dying scenes of Dr. Purushothaman and Annapoorni are not convincing. Fourth, the boy's character is almost untouched. In spite of these petty flaws, Yudham Sei is a pretty and intelligent well-made movie, especially for open-minded moviegoers who can appreciate a good film with a good plot.

Courtesy: Galatta

When there is a confluence of creative energies from the likes of Mysskin, Cheran and Ameer, the expectations are bound to soar up to stratospheric levels especially with Mysskin who is fresh from basking in the glory of his recent Nandalala. In this AGS production venture, Mysskin has chosen the crime and detection genre with Cheran as the protagonist steering the cast.

J K (Cheran) is the honest CB-CID officer who is distressed when his sister Charu goes missing suddenly. When he is about to resign his job on her search, his superior hands him a sensational and a high profile assignment that requires untangling a case wherein severed and neatly packed body parts are continuously found in strategic places in the city. This trail takes Cheran to various people and places, and the link to his sister, culminating in many unprecedented twists and turns on the way.

What works for Yudham Sei is its linear narration and effective screen play. There are no unwanted elements in the form of comedy tracks or romantic angles. Mysskin has veered clear off the expected syntax of Tamil films of such genre. He has handled this subject with a few forensic aspects thrown in. The larger part of the film keeps the audience guessing and in suspense. He has also managed to tell his story with little known artists which requires appreciation.

In the performance department, brevity seems to be the key word with Cheran who scores by delivering a subtle portrayal. Jayaprakash gives him good support, although appearing for a short while. Y Gee Mahendra, a tonsured Lakshmi Ramakrishna, Dipa Shah, Selva and Naren form part of the supporting cast and provide the necessary foil.

Under newcomer Kay’s music, Kannitheevu Penna alone finds its place in the film where the much talked about ‘Yellow sari’ clad Neetu Chandra cavorts with Ameer and ‘blink and you miss’ Charu Niveditha. Mysskin tries to duck the complaint of this particular cliché of his by placing a relevant incident at the end of the ditty. Kay’s RR is sometimes perfect, delivering the right kind of mood for the film whereas in a few sequences it stands out obtrusively. Sathyan’s prying camera peeps, thrills, and gives the needed feel.

A genre such as this should have a frenzied pace to keep the viewer on the edge of the seat but Mysskin misses the bus here with a languorous mode of unfolding events. This could work for an emotional drama but a certain amount of pace which is required for thrillers is a casualty in YS. Besides that, the climax scene is the antithesis of all the tone and mood that was set in the entire film with characters behaving in a dramatic and non-Mysskinish manner.

Courtesy: Behindwoods

Yudham Sei Music Review

2011-01-27T16:59:00.000+05:30

Music Director : Krishna Kumar (a) K
Vocals : MLR Karthikeyan, Raqueeb Alam, Mysskin
Lyrics : Kabilan, Raqueeb Alam, Mahakavi Bharathiyar

Mysskin is back in the limelight again. This time it is with Yudham Sei after the critically acclaimed Nandalala. Yudham Sei has director Cheran, Dipa Shah, Lakshmi Ramakrishnan, Y Gee Mahendra and Jayaprakash in important roles. Produced by Kalpathi S Agoram, Yudham Sei's music has been scored by Krishna Kumkar (a) K, who has scored music for many short films and documentaries. The audio of the movie was released recently and let us see what the debutant music director has to offer.

Kannitheevu Ponna
Vocals: MLR Karthikeyan, Raqueeb Alam
Lyrics: Kabilan

We are tempted to call Kannitheevu Ponna as yet another item number as in Mysskin's previous films Anjathey and Chithiram Pesuthadi but this song may be similar in genre but is original in every aspcte. The arrangements are simple with the harmonium notes making it enticing to listen to. Karthikeyan's voice adds value to the song and must surely become a crowd favorite for its hummable nature.

Aararo Aariro
Vocals: Mysskin
Lyrics: Kabilan

Mysskin dons the singer hat for Aararo Aariro. This song again has very basic music arrangements and hence the voice becomes the USP of the song. Mysskin sings with a pinched voice and though he finds difficulty while pronouncing 'Poovin Nizhalo' and 'Kannukkul Kaiveesum', the saving grace is that he maintains the mood of the song throughout. A nice song to listen to!

Kabhi Jind
Vocals: Raqueeb Alam
Lyrics: Raqueeb Alam

A Hindi song in a Tamil album, Kabhi Jind makes us revisit the past. A soulful tune keeps us engaged through the song. Raqueeb Alam has penned and sung this song. Though the lyrics may not be comprehended by many, it makes us repeat the question to ourself. Does music have language barriers?

Vedham Pudhumai Sei
Vocals: Mysskin
Lyrics: Mahakavi Bharathiyar

Bharathiyar's words have been sung by Mysskin again. A slightly modulated tone of Mysskin can be heard here. Not a complete song but this one may find its place in important sequences in the movie.

The album changes to music mode as K gives us five theme songs to add variety to the album.

A Tale (Dark)

The story is slowly revealed in 'A Tale'. The use of violins is just right as it has been proved by Ilayaraja many a time in the past to represent agony, pain and fear. A neat theme song which does set the tone for the rest to come.

Box (Pandora)

Rightly named Pandora, this theme gives a stark feeling about the evils present in our environment. The magnificent use of violins in different hues gains momentum slowly as we get a feeling that the box is opening with dark surprises.

Life (Goes On)

Starting on an acoustic tune, 'Life' is a reminder that we must set aside things that hurt us and move on... no matter what. The notes are fantastic and make us feel the pain of those affected. Another magnificient theme from K.

Chaos (Order)

Another apt tile for the theme song. Wonder what we would conclude if these tunes were not named! The interluding violins in the first half of the song does bring chaos to mind, albeit being not very grand. Quite contrastingly, the same violins in the later half of the song bring peace to mind. Brilliant!

Hope (The Last Resort)

What do we have when there is chaos and the box of evil is open? Hope! And hope it is when we listen to this wonderfully orchestrated theme song. Again involving the grand use of violins, the agony, pain and the helplessness in felt in this theme. Hope is surely given with the right notes in the interludes.

Verdict:

Songs have never been Mysskin's priority in his movies. Though there are a couple of songs, the theme music over-compensates if there are any flaws. Music director K must be appreciated for this brilliant album in terms of music. The songs and themes are rich, vibrant and surely impactful. I'm very eager to watch how the music gels with the movie. A mellifluous debut album from K: Kudos!

*Courtesy: Behindwoods

Yudham Sei Audio Launch

2011-01-24T15:40:00.000+05:30

The much-talked audio of Yuddham Sei was released yesterday at Kalaignar TV. Sasi Kumar, Samuthrakani, Vetrimaaran, Myskin, Cheran, Aarya and others attended the event.

Superstar Rajinikanth and many bigwigs of Tamil film industry have recently seen the movie at a special-screening and have praised the movie. The movie bosses are hopeful that the would attract mass and class audience.

The movie stars Cheran and debutant Dipa Shah in the lead roles. The movie is crime-thriller written and directed by Myskin. Lakshmi Ramakrishnan, Y. Gee. Mahendra, Jayaprakash are also in the cast. Kalpathi S Agoram has produced the movie on AGS Entertainment banner. The movie is all set to release on February 04, 2011.

Engeyum Kadhal Music Review

2010-11-20T17:16:00.000+05:30

‘Engeyum Kadhal’ is a breezy romance written and directed by Prabhu Deva. It is produced by Kalpathi S. Agoram.

It stars ‘Jayam’ Ravi and Hansika Motwani. The film started with the title ‘Ich’ but was finally changed to ‘Engeyum Kadhal’.

Music of the film is by Harris Jayaraj. The songs were composed as early as the Christmas season in 2009. Prabhu Deva and Harris Jayaraj had gone to Sydney, Australia for the compositions.

The soundtrack was launched on November 8 exactly ten years after Harris Jayaraj's first album ‘Minnale’ arrived.

‘Engeyum Kadhal’ has seven songs tuned by Harris Jayaraj and there’s no Bombay Jayashree in it. Otherwise it is a regular Harris magical.

1. Engeyum Kadhal
Singers: Aalaap Raju Devan, Ranina Reddy
Lyrics: Thamarai

The title song is a fabulous beginning to the album. Though reminds of ‘June Ponaal….the pure romantic elements in Harris’ musical nuances and Thamarai’s fine words cuddle you and don’t leave you till the end. Close your eyes and listen to this song, it is a dream you doesn’t want to end.

Simple leisurely rhythms and arrangements held by guitars and drum kit makes this an important song. An intangible romantic feeling is created by Aalaap Raju's lovely vocals and the additional vocals by Devan, Ranina Reddy elevates the song to a blue rock ballad. Must hear Pick of the Pack.

2. Thee Illai
Singers: Naresh Iyer, Mahathi, Gopal Rao, Ranina Reddy
Lyrics: Vaali

“Theeyillai” is a swiftly made situational number. Harris has made the male and female singers shift to different scales on and off that is interesting. The interlude choruses are Harris specialties. Naresh Iyer and Mahathi have done a great job.

A slow romantic duet but should not stay back with the premium classes only.

3. Nangaai
Singers: Richard, Rahul Nambiar, Naveen Madava
Lyrics: Vaali

Richard screams with Harris turning to Michael Jackson for inspiration. A peppy hip-hop rock, filled with tricks but is certainly catchy. Loaded western beats with a sudden kuthu rap bits in between is a new genre. 80 years old Vaali is very young and you can see that in this song.

4. Lolita
Singers: Karthik, Prashanthini
Lyrics: Thamarai

Harris assembles good metallic tones for this song. Karthik’s dependable and Prashanthini’s respectable vocals hold this song in esteem. No great interpretations tried and that’s not different also. Thamarai’s lyric is the magnetism of this regular Harris number.

5. Bathing at Cannes
Singers: Emcee Jesz, Kash n’ Krissy, Raninia Reddy
Lyrics: Emcee Jesz, Kash

A short techno-rap that must have been kept in the film for a purpose best known to the film’s director Prabhu Deva. Kash n’ Krissy is noticed better as they have become very popular with ‘Irumbile Oru Irudhayam’ song from Endhiran.

6. Nenjil Nenjil
Singers: Harish Raghavendra, Chinmayi
Lyrics: Madan Karky

“Nenjil Nenjil” sounds a return to good old serious romantic numbers with a classical touch. Simmering drums and classy flute at the back gives you the 80s great feelings. Chinmayi has done what Bombay Jayashree does to Harris songs usually. Madan Karky who electrified with his sci-fi love thoughts is very rooted to reality in this.

A wonderful tune with words immersed in love, Harish Raghavendra and Chinmayi’s swaying vocals are picks of this great number.

7. Dhimu Dhimu
Singer: Karthik
Lyrics: Na. Muthukumar

In “Dhimu Dhimu”, Harris’ guitars invite you into the song right at the outset. It later rides on the shoulders of Karthik. Na. Muthukumar’s lyric as usual is romantic and persuading. A slight tint of ‘Nenjukkul Peithidum Mamalzhai’ is seen but that doesn’t stop you from liking this song.

Overall, ‘Engeyum Kadhal’ is one of the best albums of this year. All the songs bear Harris’ stamp and Engeyum Kadhal and Nenjil Nenjil stand out to be real melodies. Harris has done his job perfectly and waiting to see how romantic Prabhu Deva has presented the songs on celluloid.

*Courtesy: Indiaglitz

Engeyum Kadhal Audio Launch

2010-11-09T04:17:00.000+05:30

Event: The audio launch of Kalpathi S.Aghoram's AGS Entertainment production ‘Engeyum Kadhal’

Guests: Producer's Kalpathi S.Aghoram, Kalpathi S.Ganesh, Kalpathi S.Suresh, director Prabhu Deva, Music director Harris Jayaraj, Jayam Ravi, Hansika, Editor Mohan, Smt.Archana, S.M.Venkat Exe.Producer AGS and others.

Venue: Office of the production house in Chennai

Mynaa

2010-11-05T14:44:00.000+05:30

Mynaa is a 2010 Tamil-language romantic drama film directed and written by Prabu Solomon. Jointly distributed by Udhayanidhi Stalin and Kalpathi S. Aghoram, it stars Vidharth, in his debut venture, and Amala Paul in the lead roles. Featuring an acclaimed soundtrack by D. Imman, the film, which garnered much anticipation prior to release, released on 5 November 2010, coinciding with the Diwali festival, receiving critical acclaim.

Mynaa, the Kollywood bird in waiting to kiss the silver screens on Diwali, is a debut creation of Shalom Studios, the production house of Prabhu Solomon, who happens to be its director too. Distribution rights have been taken up by Udhayanidhi Stalin along with AGS Entertainment. Udhayanidhi is confident that despite newcomers starring in Mynaa, it is bound to score high because of Prabhu Solomon’s narration and the team’s performance.

Prabhu Solomon seems a person with a fire in the belly to direct films without confining the stories to homes and streets alone. He desires that the script lines should go beyond that and explore the abundance in nature’s beauty. He seems to adore nature and wants that to be given a pivotal place in the storyline. He expresses his admiration for Hollywood movies that well explore nature and accepts their strong influence in shaping his thought processes. Mynaa lounges in nature’s beauty under Prabhu Solomon’s direction.

The star cast has Vidharth, Amala Paul, Thambi Ramaiah, Sethu G Pillai with many others to give meaning to the director’s conception. The quality of the film has been enhanced by powerful performances.

The young Tamil music director to be watched, D Imman, has scored amazing music which has been well received like his previous albums. The songs are already topping the charts. The audio release had Kamal Haasan and Parthiban felicitate the young producer and team for their scintillating performance and the good music. Their appreciation has instilled great confidence in the team.

The cinematography is handled by M Sukumar and art direction by Vairabalan. With a clean chit from the censor board and an entertaining story, Mynaa is expected to scale to the list of Tamil cinema’s good movies. The director confirms that it has the right blend of all the ingredients for good entertainment along with distinct insertions of innovative features.

Mynaa, the bird with a new pair of wings, is set to hit the theatres on Diwali. As goes the trend, down-to-earth script is finding a sure place for itself these days. So Mynaa, a story presented with freshness with no compromise on quality, has slowly started earning accolades right from the audio release. Diwali will see Mynaa fly high to touch new horizons.

Review:

For those who all thought that commercialism has overtaken realism in Tamil cinema, Mynaa proves the contrary! Though rural and rustic scripts have been on the rise, Mynaa offers an assortment of entertainment that caters to all sections of audiences. From Kamal Haasan to the Censor Board officials, everyone who has seen Mynaa has praised the movie and its storyline.

Director Prabhu Solomon dares to think differently. One saw his expertise in Kokki, which gave a new lease of life to Karan. Lee and Laadam were not great money spinners, but were again plots based on quick-thinking persons. Now Prabhu's new action-love story Mynaa, produced by AGS Entertainment, is on the same lines. The film is about the travails of a driver subjected to various hardships in the hilly terrains where he operates. Newcomers Vidaarth and Amala Paul play the lead roles.

What is it about?

The film is about Mynaa (Amala Paul), hailing from a poor family and deeply in love with her childhood friend. Then there is Surali (Vidaarth), a rustic village youth who goes to any extent for his love (Mynaa). The film is also about two cops Thambi Ramaiah (Ramaiah) and Bhaskar (Sethu), who go on a trip to Kurankani village in search of Surali. It also narrates the story of Kuruamma (Mynaa's stubborn mother) and Sudha (Bhaskar's wife).

The Plot

Young Mynaa and her mother Kuruamma become homeless after the death of her drunken father. Surali, who started working at a young age, takes them to his village. Late,r Kuruamma opens a small shop in the village with the support of Surali and Mynaa starts going to school.

Fast forward to the present: Mynaa (Amala Paul) is in high school and Surali (Vidaarth) works in a market near their village. Both are deeply in love with each other, but Kuruamma is against this. As a result, Kuruamma fixes Mynaa's marriage to another guy from a neighboring village. An angry Surali engages in a fight with Kuruamma and is sent to jail!

Another story takes place in Theni simultaneously. Sub Inspector Bhaskar (Sethu) and his arrogant wife Sudha are planning to go to Madurai (Sudha's house) to celebrate their first Deepavali. Sudha, who hails from a big family in Madurai, has four brothers who will go to any extent to make her happy!

Back to Surali's story: He is being sent to Theni sub-jail for 15 days. Meanwhile, just a day before Deepavali, the Theni sub-jail gets ready to celebrate Deepavali. During the celebration, Surali escapes from jail to stop Mynaa's marriage. Now Thambi Ramaiah and Bhaskar go in search of Surali. They somehow manage to find him, but fate has something else to offer! However, the heartbreaking climax scenes need a special mention.

The Performances

Newcomer Vidaarth has played his part well and fits the role perfectly; he had earlier played a small role Prabhu Solomon's Kokki. Amala Paul of Sindhu Samaveli fame is a treat to watch on screen. She has excelled as a typical village girl. But the showstealer is Sethu, who deserves a big round of applause as the backbone of the show. The rest of the cast have also done their parts well.

The Techniques

The story is nothing new. It is about the childhood love between a boy and a girl, a regular thing in most movies made in these parts. But the treatment the director has given to the script and the way he has narrated the story deserve all accolades. Aptly helping him is cinematography by Sukumar and editing by L.K.V. Das. Music by D. Imman is another major highlight of the film, not to forget the support given by producer AGS to make such a different venture.

The Verdict

The film needs serious trimming (especially the songs) in the second half to increase the pace. Certain scenes like abusing parents physically and verbally could have been avoided to make the film more meaningful! Overall, director Prabhu Solomon has proved that a quality entertainer can be made with less-known faces provided the movie has an interesting storyline with the right twists.

Courtesy: Galatta

Mynaa Trailer:

Mynaa Music Review

2010-11-01T16:09:00.000+05:30

‘Mynaa’ is the love story of two young people who live in a tribal area and problems they encounter. Prabhu Solomon who directed films Kokki, Lee and Laadam has also directed this off beat movie. The film stars new comers Vidharth of ‘Koothu Pattarai’ and Anaka of ‘Sindhu Samaveli’ fame in the lead roles.

Music is by D. Imman. Yugabharathi has written the lyrics. The audio of ‘Mynaa’ was launched by ‘Ulaga Nayagan’ Kamal Haasan on September 23 at Sathyam Cinemas.

The story is an off beat story and Imman had contradicted his reputation so far and has given very delightful thematic songs in ‘Mynaa’.

1. Mynaa Mynaa
Singer: Shaan
Lyricist: Yugabharathi

The title tracks flows smoothly and rises in the second half. As a tribal love song the tune may sound often heard but the rhythmic movements save the song. The sudden tempo rise in the second half is the finest aspect of this song. Shaan is a good singer but he sings ‘manala viricha kayira’ instead of ‘manala thiricha kayira’ in one place. The support instrumentation says Imman is melodic for a change.

2. Kichu Kichu Thaambulam
Singers: Baby Harini, Solar Sai
Lyricist: Yugabharathi

Children talk childhood fantasy mischief in this song. A basic arrangement lets the story be told through. The children chorus is playfully peppy. The rise and fall of the vocals is clearly audible with instruments backing rightly. A bit of Rajasthani folk is also mixed. Instruments like shenai and kamayacha gives a distinct rural feel. The closing bit is also notable.

3. Neeyum Naanum
Singers: Benny Dayal, Shreya Ghoshal
Lyricist: Eknaath

Mischievously attractive opening tell you what’s inside. The romantic voices of Benny Dayal, Shreya Ghoshal have an enjoyable attitude in this song. Imman makes normal instruments sound big and different.

4. Jingu Chikka
Singers: Solar Sai, Kalpana
Lyricist: Yugabharathi

Jingu Chikka is a gana kuthu with strong vocals. The very mischievous and rhythmic lyric borders vulgarity and may not be for family listening.

5. Kaiya Pudi
Singers: Naresh Iyer, Sadhana Sargam
Lyricist: Yugabharathi

Pick of the pack! In this song there is good music, there is melody and there is harmony. Assorted rhythm and varied melodies together is a winning combo in this number. The orchestration is robust and the tune is memorable. Nicely lifted by the voices of Naresh Iyer, Sadhana Sargam.

On the whole as said earlier D. Imman has come out with songs which stand out. Given the jungle journey and tribal love as the plot, all the songs have that forest essence. Mood is what makes a song become popular and most songs in ‘Mynaa’ are filled with a mood. If at all there is one thing which could have been handled better, that would be making the make singers sing with more feel of the dark soil. Although they are all great singers the male singers do sound a bit posh.

Otherwise a welcome album from D. Imman and this should take him to the next league above.

Courtesy: "Indiaglitz"

Mynaa Audio Launch

2010-09-24T14:50:00.000+05:30

The audio launch of Prabhu Solomon’s forthcoming film, Mynaa took place at Sathyam Cinemas recently, was a star-studded affair, with actor Kamal Haasan releasing the first CD and director Bala receiving it from him.

Speaking at the event, actor Shaam said that Myna’s director Prabhu Solomon was a staunch theist and while beginning every shot he would seek the blessings of Christ Jesus.

Bala, in his address, kicked off a controversy on the existence of God, over lyricist Yugabharathy’s statement saying Jesus has not and will not let down Prabhu Solomon.

He said that he came to the audio launch with the intention of talking about Prabhu Solomon’s efforts in making the film but when he heard that the director sought the blessings of the lord during each shot, he decided not to talk about the film. He said that if a director is capable, he would not believe in God.

“Anyone who has brain doesn’t need the help of the God,” he further added. Bala, however, added he is one of the strong critics for Prabhu’s films but with Myna he had only praises.

Audio Launch Videos :

Part 01

Part 02

Part 03

Bale Pandiya

2010-09-04T01:46:00.000+05:30

Introduction:

Bale Pandiya is a 2010 Tamil action comedy film written and directed by Siddharth Chandrasekhar. It stars Vishnu Vishal and Piaa Bajpai in the lead roles. The film was released to mostly positive reviews on September 3, 2010.

Review:

Adman Siddharth Chandrasheker makes his incursion into direction with AGS Entertainment’s Bale Pandiya with Vishnu of Vennila Kabbadi Kuzhu fame and Pia Bajpai in lead roles. The title does not bear any resemblance to the old Sivaji Ganesan hit but for the ‘mama-maapley’ track in the ‘sirkkiren’ number. In his maiden directorial flick, Siddharth weaves a story about an unlucky young man, his escapades in life and his interpretations of the same.

Right from his birth, Pandiyan (Vishnu) remains ill fated and his bad luck follows him wherever he goes. Some of the incidents to show this are amusing, especially when he gets into a big bus which breaks into two and the Nadi Josier (astrologer) dying while writing his horoscope! Even his suicide attempts are failures and he finally takes the help of henchman AKB to kill him. AKB is hired by politician Pasupathy (John Vijay) to kidnap Vaishnavi (Pia), daughter of fellow politician Jaiprakash, basically to silence him on a political issue. In the midst of this, Vivek comes from London in search of Pia to marry her. How the paths of all these people are brought in a single line and what life has in store for Vishnu, when he has decided to call it quits, is the story of Bale Pandiya.

The attempts of director Siddharth appear fresh and there are touches of his ad world experience in a few scenes. The summation of the events at the end is very interesting and novel too. And so are the title credits. Some of the dialogues are high on intelligent humor especially when Pia says on a good bye note to Vishnu “Inda situationla Birlavaa irundalum Tata nnu daan sollanum.” The scene where pedestrians and cyclists overtake Vishnu’s bike is funny. However, Siddharth has not held the screen play tightly through out and loses his grasp especially towards the end. The film seems to drag on with a meandering narration in the latter half.

For Vishnu, this is his second film and the lad has done justice to his role. Cute Pia passes muster but it is time she has a make over as her looks and costumes are virtually the same in all films. Amarendran, as the dada, is an impressive find. SS Music Gibran has nothing to write home about. John Vijay is rocking as always and is a delight to watch. Jaiprakash delivers right.

Vivek, as the man from London trying to chide the happenings in Chennai, is annoying mostly. But he can be forgiven when he talks some sense about giving way to ambulance and giving a simple solution for deep dug holes in the roads.

Devan Ekambaram’s debut as music director is just about satisfactory. The song ‘Happy’ is picturised differently with many singers and the Kangalal Kamalalayam is melodious. Devan’s music is very loud and his BGM even overlaps the dialogues in some scenes.

In short, if Siddharth had tweaked a few portions in the film, we would have said- Bale Siddharth!. Go without expectations and enjoy the ride!

Courtesy: Behindwoods

Bale Pandiya Trailer:

Inidhu Inidhu

2010-08-21T01:59:00.000+05:30

Introduction:

Inidhu Inidhu is a 2010 Indian Tamil-language film directed by cinematographer-turned-director K. V. Guhan, starring eight newcomers in lead roles. It is a remake of the successful, award-winning 2007 Telugu film Happy Days, which is produced by Prakash Raj under his banner of Duet Movies and Distributed by AGS Entertainment.which has the musical score by Mickey J Meyer, the composer of the original score. The film was released on August 20, 2010. Much of the shooting was carried out at the Vellore campus of VIT University, India.

Review:

The trade-in of movies across the sub-continent ensures that we, as viewers, get the best of both worlds. But often the question remains whether the remade movies prove to be as successful as their original counterparts. Inidhu Inidhu, produced by Prakash Raj’s Duet Movies, is the remake of the Telugu super hit college movie Happy Days. A feel good flick, it remains earnest to the original script and successfully evokes nostalgia in a particular age group while keeping up with the sentiments of the college-going audience.

The movie is essentially strung together with beads of incidents of college years: accidental friendships, blossoming love, undercurrents of jealousy that largely arise out of competitiveness in studies and real life, peer pressures and so on. It’s as if you have stepped into a college for about two hours to witness the goings-on with a sense of déjà vu.

Inidhu Inidhu is set in an engineering college and follows the lives of a gang of students during the course of their studies – four years. They are absolute strangers when they start out but as they are thrown in together in unfamiliar surroundings, the quintessential college friendship sprouts that stay on for the four significant years of their lives.

As a result, there is no definite storyline in the movie. The incidents, although do not mar the flow, also prove to be reason for tedium to set in. But, thankfully, the script spruces itself often with a little twist here and a turn there resulting in swiftness in the pace.

Few incidents do set the tone of the movie: asking for directions to a department, a friendship is stumbled upon, a hyper lover boy begs for a smooch from his love-interest only to be caught red-handed by her father that almost costs him his only budding romance, an unrelenting love with a senior that surprisingly doesn’t go overboard and hence not stereotyped and the sacrifices in studies for the sake of friendships. The English professor, who receives unmanageable attention owing to her fair skin and her flair for the language leaves an indelible presence of college life in the movie. The delightfully bright costumes also play pivotal role in bringing the college setting close-to-life. Each frame is multi-hued and hence makes for a pleasurable viewing experience. So are the locations, albeit set in a college, are scenic.

Thankfully lots of emotional scenes in the movie are not dramatically enacted; most of it is left unsaid and hence understood by the audience, which is often the best way of story telling. For instance, there is no exchange of love between the lovers but the undercurrents are strong that it’s written all over the actors.

On the downside, there are chances that the movie might only attract a particular age group of college-goers who tend to relate to it. Although a strong sense of déjà vu is prevailing throughout the movie, it’s hard not to feel slothful sitting through hence it’s only a depiction of incidents with no drama whatsoever. That could have made the pace brisker.

Besides, music in general, background score and the songs, is just passé and none of the songs stands out. Camerawork is pretty straightforward since the cameraman had not taken any strain for imaginative angles.

On the other hand, if you are looking to be teleported back to your college days for a couple of hours or so, Inidhu Inidhu will come in as handy. It’s a feel good movie. But if you are already in college, you will only need half a reason to watch this.

Inidhu Inidhu Trailer:

Inidhu Inidhu Music Review

2010-08-14T14:34:00.000+05:30

Music Director : Mickey. J. Meyer

Vocals : Krishna Chaitanya, Aditya, Karthik, Sasikumar, Siddharth, Kalyani, Naresh Iyer, Mickey J.Meyer.

Lyrics : Vairamuthu, Na. Muthukumar

Produced by Prakash Raj and directed by cinematographer K.V. Guhan, this film, a remake of the successful, award winning ‘Happy Days’(Telugu), stars eight newcomers - Narayan, Arun Iswaran, Vimal, Sharan Sharma, Reshmi Menon, Sonia Deepti, Benaas, Gia Umar and Sunny Saurav. A romantic movie, this one has music by Mickey. J. Meyer, who seems to have retained two original scores and given new scores for the others.

Ammaakkale O

Vocals: Krishna Chaitanya, Aditya, Karthik, Sasikumar, Siddharth

Lyrics: Vairamuthu

A song whose lyrics celebrate youth power, but the music, in trying to be euphonic, ends up being quite pale. Strong visuals alone can bolster it. A very simple Sankarabaranam scale with odd incursions into Hamsadwani raga.

Inbam Edhirile

Vocals: Karthik

Lyrics: Na. Muthukumar

This song, on the Suddha Danyasi raga scale, has a lot more ‘dum’ to it and the nagaswaram-like bits add quite a bit of cheer and direction to the song which exhorts youngsters to enjoy every thrilling moment of college life. Has a slight hip-hop touch to it.

Inidhu Inidhu

Vocals: Karthik

Lyrics: Vairamuthu

Sweet rhythms and neat guitars pretty up this song which seems to touch upon both Hamsadwani and Mohanam ragas. Though the lyrics don’t flow smoothly in the ‘sandham’, Karthik’s voice makes sure we overlook it. Could hit the charts.

Vazhkkai oru Vaanam

Vocals: Karthik

Lyrics: Vairamuthu

This song has a better flow and Karthik’s voice gives a soothing touch to it. The lyrics lovingly recall the nurturing power of friendship. Could strike a chord with college-going youngsters.

Ennangal Vaan Nokki

Vocals: Kalyani

Lyrics: Vairamuthu

A song of simple idealism, sung from a feminine point of view. Feels as if the singer is jammimg.

Kodi Kanavu

Vocals: Naresh Iyer

Lyrics: Na.Muthukumar

A repeat of an earlier mettu. About a heart that is just starting to crumble in disappointment. Naresh adds just the right touch of ‘sigh’-ness to it. Neat music, especially at the end.

Kalloori Thaayae

Vocals: Mickey J.Meyer

Lyrics: Vairamuthu

A suitably sad and sober ‘goodbye’ to college life. Though the song has a soft country-music touch to it, it fails to hold your attention.

Verdict:

An interesting attempt to go with the ‘western’ trend but the musical idiom of Mickey. J. Meyer is a bit shallow and the songs sometimes meander here and there cluelessly. The album is easy on the ears and may fit into the visuals smoothly, but does not seem to have a ‘stand-alone’ value. The CD has been packaged with a lot of creativity.

*Courtesy: Behindwoods

Madharasapattinam

2010-07-10T01:51:00.000+05:30

Introduction:

Madhrasapattinam is a Indian Tamil film that stars Arya and Amy Jackson in the lead roles, whilst, actors Nasser and Cochin Hanifa play other prominent roles. Directed by A. L. Vijay, who earlier directed hits like Kireedam (2007) and Poi Solla Porom (2008), the film is released on July 9, 2010 with extremely positive reviews.

Plot:

The movie begins more like Titanic as an old English woman Amy Wilkinson (Amy Jackson) almost at her death bed in London, wants to come down to Chennai in search of a young man Parithi (Arya) whom she last saw on 15 August, 1947.

Almost 60 years from then, she is clueless as she has just a picture of Parithi, which was taken then. The search begins. There are scenes where she recalls her past. It is revealed that Parithi was a valorous dhobi in Madarasapattinam. He revolts against the British officials for they plan to construct a golf course in their dhobikhana.

Comes Emi, daughter of Madras Presidency Governor, and she develops an affinity towards Parithi. She is friendly and helpful. Sequence of events leaves romance blossoming between them. Parithi calls her affectionately as Duraiamma.

Even as they face trouble from the angry White officials, comes 15 August 1947 which brings freedom to India. Duraiamma is now forced to go back to England. Parithi runs from pillar to post and fights to hold his sweetheart’s hands. But he couldn’t achieve his mission. Cut to present, Duraiamma is back in search of Parithi. Did she realise her mission forms the climax.

Review:

Get ready to be transported back into Madras. The makers have promised a trip from Chennai to Madharasapattinam and that is exactly what has been delivered through this movie. But, is it just a trip back in time or is there more to look forward to? Before we begin analyzing Madharasapattinam for what it is, let us lay down lines that quite clearly define what it is not. Any movie set in the pre-independence era carries the expectations of portraying the freedom struggle. Madharasapattinam makes little or no attempts to get into that. Yes, the events of the freedom struggle and subsequent achievement of independence from British rule are important events that have a bearing on the story. But, those events have not been shown in detail, nor have any of the legendary names associated with the freedom been depicted. So, Madharasapattinam is not a documentation of the freedom struggle and events associated with it. Then what is it?

It is a love story set against the backdrop of India that is on the verge of independence. A young British lady (Amy Jackson) is visiting India. She is from a family that is well connected to the highest echelons of power in the Madras presidency. As it is, tensions are brewing between the British and Indians all over the country. That rubs off on a small washer man community in Madras who stand in the way of the powerful British personnel when they attempt to evict them from their place. It hurts the ego of a highly placed British officer who challenges a young dhobi (Arya) for a one-on-one which would decide the fate of the place. The British lady happens to be a silent spectator to all that transpires between the British and the dhobi community; she notices the young man who has the courage to stand up to a mighty force. Soon, she finds herself attracted to this man who also seems to be reciprocating those feelings. But, the proximity between the two does not escape the eyes of the power hierarchy who look down upon the relation as a disgrace to the family and the empire. With freedom fast approaching and the British getting ready to leave the country, time is running out for the couple who have to make a decision between love and country. What happens to the love story that faces the wrath of mighty empire whose ego has been badly bruised by the freedom struggle? Watch Madharasapattinam to find out.

The storyline and the events might sound a bit familiar to you. Yes, there are points in the movie where one is able to draw parallels to other great movies. The opening portions remind us of Titanic, while the challenge thrown by the British at the dhobi community gives us a Lagaan feel. But, in spite of all this, Madharasapattinam has a unique identity and the reason for that is in the title of the film itself - Madras. That is the single biggest highlight of the movie.

Full marks to the team of Madharasapattinam for recreating Madras, which existed only in photos, history books and minds of people who lived during that era. Though most of us do not have a very clear idea about how Madras would have looked like before 1947, the picturisation is good enough to convince us that this is an authentic representation. First on the order of merit for making this possible is the art department headed by Selva Kumar. We are taken to a Mount Road (not Anna Salai) that is not overflowing with traffic, the old Washermanpet, the haloed building of the Madras Central and the Buckingham Canal which once was the backbone of a very efficient drainage system of the city. We are even shown a Cooum that is not filthy; which is hard to imagine, considering the state of the river these days. All sets are exquisitely constructed and look very original. Hordes of junior artistes have been employed in proper period attire to add to the authentic feel. What is provided by the art department in terms of magnificent sets has been enhanced into a wonderful on screen experience through Nirav Shah’s lens. The cinematographer is in top form capturing Madras in all its glory. The tone adopted to give a period theme is apt.

Other technical aspects of Madharasapattianam also a delight, especially G.V. Prakash’s background music. The small touches that he has provided, especially when the love between the lead couple begins to bloom, are wonderful. The songs too are a treat, especially ‘Vaama Dorayamma’ and ‘Aaruyire’. Though there is a feeling that adding a few western pieces here and there would have made it even more perfect for the movie. Costumes of the entire cast are almost perfect, especially Amy Jackson’s.

Performances are a real delight in Madharasapattinam. The one who walks away with the top honors is Amy Jackson for a beautiful portrayal of a lady torn between her love and the mighty empire. She looks absolutely beautiful, emotes well through her expressive eyes and is able to earn the sympathy of the audiences during tough times. Arya is perfect for the character of the dhobi who is also a wrestler. He is intense, manly, yet soft and romantic when it is required. A convincing performance. The rest of the cast too is spot on in delivering the goods. The British cast looks convincing as the colonial power. VMC Haneefa delights as the dubashi (translator) lending many moments of fun as he plays around with languages that he does not know. Nasser brings power and intensity to the character that he portrays. The lady who portrays the aged Amy Jackson, through whose memory the story is told, also impresses a great deal.

While there are positives aplenty for Madharasapattinam, there are one or two aspects that could have been better. The dialogues do not seem to be the kind that would have been spoken before 1947, the lines look very contemporary, especially the Tamil dialogues. One can overlook this in a commercial film. Using the proper 1940s Madras Tamil could have worked either way for the movie. There are quite a few English dialogues (understandably), but they do not look like an inconvenience or act as a barrier between the film and the audiences; the subtitles have been done well.

Overall, Madharasapattinam is a film that takes you back in time and shows you a Madras that exists only in photos and memory. Hats off to the entire team for making this possible and kudos to Vijay for heading this team and pulling off the huge task. Also thanks to AGS Films for taking up such a subject which would have definitely cost a lot. Madharasapattinam is a pretty often seen love story where poor boy meets rich girl, much to the angst of the family. But, it is the backdrop and the treatment that make it a different experience. Watch Madharasapattinam for some great art work, cinematography, performances and to appreciate an effort that is a rare occurrence in Tamil cinema. But, do not look for a documentation of the freedom struggle and other historical milestones. Just enjoy the trip from Chennai to Madharasapattinam

Review by "Behindwoods"

Madharasapattinam Trailer:

Bale Pandiya Music Review

2010-05-12T01:28:00.000+05:30

‘Bale Pandiya’ is youth entertainer film produced by AGS Entertainment. It stars Vishnu, Piya, Vivek and others. Designer turned director Siddharth Chandrasekhar introduces Singer-Actor Devan Ekambaram as a music director in this film.

Deven was launched as a singer by A R Rahman with the song ‘Oh Maria’ from ‘Kadhalar Dhinam’. Though he entered the industry as a singer his inner passion was always to be a music director.

And when he got a chance he grabbed it with both hands and delivered. The songs of ‘Bala Pandiya’ are differently conventional. When you thought it is usual it then it changes the track.

The ‘Bale Pandiya’ album has 7 tracks, out of which the last Sirikkiren’ is a complete instrumentation. Kudos to have the guts for doing a 5-minutes long instrumentation which is not a cover version. Deven has used almost all the singers in business today in this album.

Welcome dude!

1. Sirikkiren

Singers: Naresh Iyer, Mano, Seerkhazhi Sivachidambaram, Burn, Uma Shankar

Lyricist: Vaali

“Sirikkiren” Belongs to the drunk-song genre. It’s a fast-beat philosophical song set in ‘dapangkuthu’ type of the mid 80s. It also freaks out to Rock ‘n’ Roll at some points. Deven’s experimentation with an unusual combine of seniors like Mano and Siva Chidambaram and juniors like Naresh Iyer and Uma Shankar is interesting and works. Towards the end Devan surprises by blending a bit from the classical song of ‘Mama Maaple’ from the original Sivaji film Bale Pandiya which is still a rage.

2. Happy

Singers: Haricharan, Devan Ekambaram, Naresh Iyer, Naveen Madhav, Paravai Munniamma, Malaysia Vasudevan, Ranjith, Aalaap Raju, Raqueeb Alam, Anuradha Sriram, Srinivas, Velu Murugan, Manikkavinayagam, Mukesh, Malagudi Shuba, Divya Vijay, Anitha, Suchitra, Karthik, Vijay Yesudas & Rahul Nambiar

Lyricist: Vaali

This song is sure to enter the records book for assembling maximum number of singers for a single song. 20 singers to be precise. Novel style renditions. The care free lines are typical Vaali which sings out moments of happiness from various perspectives. The innovation in this song is that except for whistling and finger snapping there’s no other instrumentation. It is also said all the singers appear in the film for the song. Waiting to see how this song has come out on screen.

3. Aaradha Kobamillai

Singers: Raman Mahadevan, Mahalakshmi Iyer

Lyricist: Thamarai

‘Aaradha Kobamillai’ begins with a soothing veena and ascends to a mellifluous duet. A modern duet in rhythmic pace. Thamarai’s words suggest it’s a song where lovers come together after a tiff. This enchanting melody you may not like it after first listening. But it catches you second time.

4. Ivan Thedal

Singers: Burn, Arun Ramamurthi

Lyricist: Burn

A mild techno-rap for the dance floor. Must be the theme song for the hero and his proposed deeds in the film sung by his friends. Word and more words doesn’t let the music take over at any point. Seems Devan has touched all the electronics for this song. For rap lovers.

5. Kangalae Kamalalayam

Singers: Unnikrishnan, Mrinalini

Lyricist: Thamarai

You hear a full course of Unnikrishnan after a long time. Thamarai’s lyric is inspiring. This is a slow melody bordering to classical. Singers have done justice to the traditional intent. Deven uses more strings to give it a soft focus. All likely to be seen more on television for promotion.

6. Bale Pandiya

Singers: Velumurugan, Ranjith, Naresh Iyer

Lyricist: Vaali

The title song is zippy, zingy and street smart. Really fast beats takes you on high. A very likeable kuthu song.

7. Sirikkiren (Instrumental)

Singer: Arun Ramamurthi

This is an instrumental version of the Sirikkiren song. One of the best instrumentals you have heard in recent times. Superbly bouncy beats and artfully presented. Violin and Veena are the main instruments in this apart from Gatam. You wonder the talent of Deven and his ability to do such fast beats using solo violin and veena. Will you like this more than the others?

Deven’s debut as a music director is welcome. He must have breathed songs of Illayaraja in the 80s that must have been his formative years in music. You can see that influence through out. Yet Deven comes out refreshingly fresh oozing a lot of hope. When varieties of films come his way he will prove himself.

Courtesy: Indiaglitz

Irumbu Kottai Murattu Singam

2010-05-07T15:37:00.000+05:30

Introduction:

Irumbukkottai Murattu Singam is a 2010 Indian Tamil western film directed by Simbudevan, starring choreographer-turned-actor Lawrence Raghavendra, Sandhya, Lakshmi Rai and Padmapriya in lead roles. The film is said to be a "Western adventure comedy film" based on Cowboy stories, which plays in the 17th century. The film's shooting commenced in April 2009 and released on 7 May 2010.

Plot:

Jayashankarapuram, (the director’s tribute to Tamil cinema’s most popular cowboy Jayashankar) a village that has a lot of cowboys (even cow woman) and horses! Jayashankarapuram is in the clutches of the villain Nasser as Kelaku Kattai (the director’s tribute to evergreen cowboy of the world Clint ‘EASTWOOD’!) who lives in the Irumbu Kottai or ‘Iron Fort’ in US Apuram. Kelaku Kattai also dictates terms on five other villages. He is a wicked man, mind you! With only one eye and the other being a dummy! In between all this, hero Lawrencce as ‘Singamuthu’ is introduced as a helper. He is good at heart and has adopted four children in his village ‘Sholaypuram’. Due to unforeseen circumstances he is ordered to hang till death and this is where a group of people save him from the hangman’s platform. Lawrencce is saved by this group headed by Mouli who is Bilagiri James. His men are Ilavarasu, Ramesh Kannah and Vaiyapuri who want to save their village from Kelaku Kattai. They find Singamuthu similar in appearance to Singam, the brave Marshall who is not to be seen for sometime A deal is negotiated with Lawrencce who is taken to Jayashankarapuram as Singam.

Lawrencce is shown as the same brave Marshall Singam who is faster than his shadow. He is as fast as lightning when it comes to shooting the gun. So the new Singam gets accustomed to all the antics of the original Singam. In the village, veteran actors Manorama as Keluthi Amma and Delhi Ganesh as Paandu are introduced to Larencce. At this juncture Padmapriya is introduced as Bali who instantly finds a soft corner for the hero. Lets leave the hero’s village now and go to the Villain’s camp at Irumbu Kottai. Nasser is always in the company of his close aides Lakshmi Rai as ‘Pakki’ and seasoned Telugu actor Sai Kumar as ‘Ulakkai’. Ulakkai is the right hand of the villain who goes by the order of his boss. In between the hero’s and the villain’s camp is a Red Indian village where the tribals are pure vegetarians. With the introduction of this village in the movie, MS Bhasker as Aathirikesa the leader of the tribal group, his father Senthil, and his beautiful daughter Sandhya as Thumbi are also introduced. The funniest character in the movie Sams as Lee the translator of the tribal language is also introduced in this point. The Red Indians are pivotal in the story of the movie.

The gist of the story: The villagers at Jayashankarapuram find a map that is hidden in their ‘MGR Timesquare’. But it is only one half they have. They have to find the other half to hunt for treasure that is preserved and hidden somewhere far away. But the villain, Nasser has other plans. He negotiates a deal of freeing prisoners in exchange of the treasure. Does the Marshall Singam along with Sai Kumar, Lakshmi Rai, Vaiyapurai, Ilavarasu, MS Bhasker and Sams find the treasure?

Review:

Tamil Cinema is growing really fast and testimonial to that is ‘Irumbu Kottai Murattu Singam’ (IKMS) directed by ‘humour-in-blood director’ Chimbudeven. Produced by AGS Entertainment, makers of family entertainers like ‘Thirittu Payale’, ‘Santosh Subramaniam’ etc, and forthcoming movies like ‘Madharasapattinam’ and ‘Bale Pandiya’, the producers have not compromised in the quality of film making. Exquisite sets, classy costumes, AGS entertainment has made a gem of a movie that would be talked about for a long time to come.

Hollywood is a kingpin in the cowboy genre, with a lot of heroes in fact carving a niche for themselves including Gregory Peck, Clint Eastwood and a host of other cowboy heroes. ‘IKMS’ is an inspired movie of one such page from the big book of cowboy history. Firstly, credit and two thumbs up to director Chimbudeven to make such a movie that needs a lot of effort and specially attention to detail. He has brought out a wholesome entertainer.

Starting the movie with the narration from the director himself about the evolution of cowboy culture in the world, he gives examples of different cowboys in different countries with conclusion of the narration with cowboys in India, in particular south India. Here is introduced Jayashankarapuram, (the director’s tribute to Tamil cinema’s most popular cowboy Jayashankar) a village that has a lot of cowboys (even cow woman) and horses! Jayashankarapuram is in the clutches of the villain Nasser as Kelaku Kattai (the director’s tribute to evergreen cowboy of the world Clint ‘EASTWOOD’!) who lives in the Irumbu Kottai or ‘Iron Fort’ in US Apuram. Kelaku Kattai also dictates terms on five other villages. He is a wicked man, mind you! With only one eye and the other being a dummy!

In between all this, hero Larencce as ‘Singamuthu’ is introduced as a helper. He is good at heart and has adopted four children in his village ‘Sholaypuram’. Due to unforeseen circumstances he is ordered to hang till death and this is where a group of people save him from the hangman’s platform. Larencce is saved by this group headed by Mouli who is Bilagiri James. His men are Ilavarasu, Ramesh Kannah and Vaiyapuri who want to save their village from Kelaku Kattai. They find Singamuthu similar in appearance to Singam, the brave Marshall who is not to be seen for sometime A deal is negotiated with Larencce who is taken to Jayashankarapuram as Singam.

Larencce is shown as the same brave Marshall Singam who is faster than his shadow. He is as fast as lightning when it comes to shooting the gun. So the new Singam gets accustomed to all the antics of the original Singam. In the village, veteran actors Manorama as Keluthi Amma and Delhi Ganesh as Paandu are introduced to Larencce. At this juncture Padmapriya is introduced as Bali who instantly finds a soft corner for the hero.

Lets leave the hero’s village now and go to the Villain’s camp at Irumbu Kottai. Nasser is always in the company of his close aides Lakshmi Rai as ‘Pakki’ and seasoned Telugu actor Sai Kumar as ‘Ulakkai’. Ulakkai is the right hand of the villain who goes by the order of his boss. In between the hero’s and the villain’s camp is a Red Indian village where the tribals are pure vegetarians. With the introduction of this village in the movie, MS Bhasker as Aathirikesa the leader of the tribal group, his father Senthil, and his beautiful daughter Sandhya as Thumbi are also introduced. The funniest character in the movie Sams as Lee the translator of the tribal language is also introduced in this point. The Red Indians are pivotal in the story of the movie. It is for you to find out at the theatre!

Larencce as the hero has flaunted his natural style. The man oozes with confidence for having bagged such a coveted cowboy role. But the real hero of this movie is director Chimbu Deven. He has developed a screenplay that is not dragging, not boring and most importantly highly entertaining. He has proved it yet again; he is a director who thinks out-of-the-box! The narration is highly innovative. Sample this – The village priest also wears a cowboy hat, suggesting him to be a cowboy priest! Many more funny things for you to see at the theatre including websites for their village heroes! Translator of the tribal Sams as Lee and his translations are really funny and give the audience a healthy laugh.

Chimbu Deven makes the audience not just giggle but laugh out loudly at most times of the movie. The director has also chosen his team very carefully. The cinematographer Azhagappan has done a tremendous job of handling his camera. The adventure scenes, the horse chase sequences and even picturing the songs are truly appreciable. At this juncture, one would be in awe of the sets that have been designed to get the feel of the cowboy film. Be it the guns in the movie, the Jayashankarapuram village, the Irumbu Kottai, the imaginary mountains (help of computer graphics) or the treasure caves, art director Muthuraj receives full marks for his extraordinary art direction. He has crafted a true cowboy village and the visuals will transport you to that world.

Equally receiving praise is costume designer Sai, who has got the right clothes to suit the story. Every character in the movie gets a hat! The Red Indians and their costumes are designed well! Make up for the actors, especially the rotten teeth of Sai Kumar and the empty eye of Nasser is significantly noticeable by Nehru.

The pace of the movie is thoroughly enjoyable. Songs are not at awry places and the screenplay does not have a lag, especially handling a few flashback scenes in the middle that talk about the original Singam. Editing has been immaculate. Editor Raja Mohammed, the national award winning editor for Paruthi Veeran, has done an amazing job.

Moving to the music, with a dancer like Larencce as the hero, G V Prakash has done a good job composing a few peppy numbers. Re-recording in the movie is appreciable. Choreography in a few songs is admirable. Larencce as the choreographer for ‘Nenjam Nenjam’ along with dance masters Sridhar and Siva Shankar for the other songs receive appreciation.

The movie scores marks in almost all departments. Minuses exist but not in large numbers. Heroines Padmapriya, Lakshmi Rai and Sandhya could have been used effectively. The background music by G V Prakash is heavily inspired by adventure classic ‘Pirates of the Caribbean’.

Comedy forms the basis of the movie. Chimbudevan has evoked laughter many a time and like his all his movies, the absence of vulgarity makes this a family entertainer. Cowboy hats, horses and the shelling guns, ‘IKMS’ succeeds in entertaining you effortlessly! Kudos to the ‘IKMS’ team! Just like the movie’s tag line ‘Vecha Kuri Thappadhu Mamae!, You have hit the bulls eye at the Box Office!

Review by "South Dreamz"

Irumbu Kottai Murattu Singam Trailer:

Bale Pandiya Audio Launch

2010-04-18T15:54:00.000+05:30

Doing things in a different way has become a habit for popular publicity designer Siddharth, who has taken the avatar of a director with ‘Bale Pandiya’. At the audio launch function of the film in Chennai Sunday, he brought smile on many a face with his novel ideas. In what could be called as a contrast to the tradition, the filmmaker invited 18 of his unit members (people who help in production activities) to hand over the audio CDs to celebrities on stage, in an attempt to honour them for their contribution to the movie.

Then came a session to honour singers, when 14 popular playback singers performed live on stage to the tunes composed by their good friend Devan Ekambaram, who is the music director of ‘Bale Pandiya’.

There were also interesting speeches from the invitees including lyricists Vaali and Thamarai, Tamil Film Producers Council Rama Narayanan, actor-director R Parthiban, directors S P Jananathan, ‘Jayam’ Raja, Chimbu Devan and Vijay among others. Produced by Kalpathi S Agoram for AGS Entertainment, ‘Bale Pandiya’, a full-length comedy movie, has Vishnu of ‘Vennila Kabaddi Kuzhu’ fame and Piya Bajpai in lead roles. The film will hit the screens soon.

Bale Panidya Audio Launch Video:

Madharasapattinam Music Review

2010-04-07T16:09:00.000+05:30

‘Madharasapattinam’ a period film set during the colonial rule of British in India. Director Vijay showed the entire film fraternity that he means business with his masterpiece, at the launch of the audio of the movie. Living up to the expectations is young genius G V Prakash.

Being set in the pre-independence era, G V’s music intelligence would have come for scrutiny. He fares well in most compositions in this album. Na. Muthukumar’s lyrics add the soul to the album that would have required an extra bit of research.

1. Pookal Pookum:

Singers: Roop Kumar Rathod, Harini, Andrea Jeremiah, GV. Prakash

The song starts of with a Hindustani feel, and the vocals of Roop Kumar Rathod starts of gently with the lyrics of Muthukumar describing attraction for the man and woman involved. The chorus is put to good effort and Roop Kumar stretches his vocals to high pitch in between. Harini’s voice is zealous. Instruments have been used skillfully, with a tempo that is anywhere between moderate and fast. Slowly, a western rhythm is brought in, with Andrea crooning English lyrics penned by her. She sings with finesse. Must listen, if your mood for romance!

2. Vaama Duriyamma:

Singers: Udit Narayan, VMC. Haneefa, Amy Jackson

Sounds like a folk song but nothing close to it. A song that supposedly talks about Indian culture and through the song the director has made lyricist Muthukumar introduce the culture to the heroine. Voice of Amy Jackson with Late. Haneefa translating a few lines from Tamil to English is heard. Udit Narayan has sung it well but there is no dearth of Tamil singers here. A Tamil singer would have brought out that perfect essence of the song. Full marks to lyricist Na. Muthukumar.

3. Feel of Love:

Singers: Seenu, Naveen Iyer

Slow instrumentation that has been written here as ‘feel of love’. Perhaps used as a background score in the movie. A western feel throughout with chorus humming in the later part of the track.

4. Meghame O Meghame:

Singers: MS. Viswanathan, Vikram, Nasser

A song that talks about the washer folk. Listen to the vocals of music legend M S Viswanathan, Chiyaan Vikram and versatile actor Nasser. MSV needs no introduction while Vikram has pulled off a great job along with Nasser. The music at the back is fast and the effects attributing thunder are worth mentioning. GV has done a good job.

5. Aaruyire:

Singers: Sonu Nigam, Saindhavi

A slow sad song in the not-so-comfortable voice of Sonu Nigam, who has to get his Tamil nuances right. Saindhavi has sung her part well, and G V’s pathos music will you make indulge for more. Not many instruments have been used to bring out the importance of the lyrics. The end product- lyrics that will make you think. Both the vocalists have done a decent job.

6. Kaatrile:

Singer: Hariharan, Zia, Augustin Choir

‘Kaatrile’ starts off with a fast singing, of lyrics that talk about love’s victory over war and hatred. The evergreen voice of Hariharan comes in stirring your music senses. Music composition is filled with patriotic tunes and the vocals are really expressive. Repetitive hearing will attract you towards this song.

7. The Dance Theme:

This track seems to be the theme music of the movie. Instruments are galore in this song. Good for your hears if they are on the hunt for something fresh. Classy orchestration, and G V deserves a pat!

The album as a package, is a nice variety. With an interesting duet, a song with folk tune, a sad song and then a patriotic song to end. G V has done a credible job, given his age and he is surely learning fast. A quality product for director Vijay to flaunt on the big screen. Look out for the art and visuals, he showed everyone a glimpse of it, at the audio launch.

Courtesy: Indiaglitz

Madharasapattinam Audio Launch

2010-04-05T16:17:00.000+05:30

Madharasapattinam Audio Launch:

A first of its kind audio launch, in Tamil Cinema. The audio launch of ‘Madharasapattinam’ was a splendid example of creativity. The invitation itself leaked the essence of the launch party.

The who’s who of the Tamil industry was present to witness the audio launch that director Vijay and his team dreamt of. The chief guest of the event was Kamal Haasan along with sensational director Shankar.

G V Prakash was really ecstatic for he was the real hero of the music launch. The art work involved, had a old train engine at the stage, a set of pre-Independent India, and a few memoirs like cars of the British ruled India.

Surprising the guests was the cast of the movie that had come in the same costumes they wear in the movie. The hero, heroine and even the supporting characters came in the outfits meant for them. It was a gala event, that will be remembered as one of the best!

Madharasapattinam Audio Launch Video:

Irumbu Kottai Murattu Singam Audio Launch

2009-12-26T18:39:00.000+05:30

The music of ‘Irumbu Kottai Murattu Singam’ was launched at the Sathyam Cinemas today. The audio was unveiled by K. Balachandar and was received by Balumahendra. The event was attended by Raghava Lawrencce, Padmapriya, Laxmi Rai, Sandhya, G.V. Prakash Kumar, Cheran, R.B Chowdary, Rama Narayanan, M S Baskar and Vaiyapuri.

Irumbu Kottai Murattu Singam Audio Launch Video:

Irumbu Kottai Murattu Singam Music Review

2009-12-26T17:41:00.000+05:30

Music Director: G.V.Prakash Kumar
Vocals: M.K Balaji, Ramya, Bargavi, G.V.Prakash, Harini, Sulabha, Tippu, Rahul Nambiar, Bombay Jayashri, Navin Iyer, D.A.Srinivas, Shakti, Bigg Nikk.
Lyrics: Vairamuthu.
Producer: Kalpathi.S.Aghoram, Kalpathi S.Ganesh and Kalpathi S.Suresh

Irumbu Kottai Murattu Singam Directed by Simbhu Devan (who certainly has the talent to handle such themes), this ‘Cowboy’ movie is eagerly looked forward to, appearing as it does almost 38 years after actor Jaishankar did such a movie. The hero is Raghava Lawrence and he is paired with three heroines- Padmapriya, Lakshmi Rai and Sandhya. We also have Manorama, Mouli, Vaiyapuri, M.S.Bhaskar, Nasser and many others essaying supporting roles.

G.V.Prakash, fresh from his ‘Aayirathil Oruvan’ success, scores music for this movie. All lyrics are by Vairamuthu.

Vellaikari Nee:

Vocals:M.K Balaji, Ramya, Bargavi

A rugged masculine number with strong rhythms and some quirky instrumental bits. The rap bits are neat and the song has been sung well. Could go up the charts.

Nenjam Nenjam:

Vocals: G.V.Prakash, Harini, Sulabha

This song is a heady mix of jazz (such joyful notes from the wind instruments) and yesteryear melody. A song of throbbing passion, it needs tasteful picturization to add to the impact.

Ilanthamizha:
Vocals:Tippu

This is another cute number with just a touch of blithe Caribbean rhythms and some cheery trumpet notes. The lyrics stress the importance of combining intelligence with valor. Well sung by Tippu and is likely to be relished well too.

War Theme:
Vocals: Rahul Nambiar

This piece starts off purposefully and then turns into a cocky, comical one. The sudden flute notes are so delightful they make you smile! Ends with an amusing flourish too.

Kanna Nee Ennai:

Vocals: Bombay Jayashri, Navin Iyer, D.A.Srinivas

Now, this song catches you totally unawares, being in the classical mode! Based on the Madhukauns (or Sumanesaranjani, as some would say) ragam, this song holds your attention for its lovely use of ‘jatis’, mrudangam,ghatam and flute. The swirl of notes in the elongated ‘vaaa—‘is dramatic. The song of a lovelorn lady calling out to her beloved, it is likely to be savored for the mood change it offers. Have the mrudangam and flute players sung the jatis as well?

Raja Singam:
Vocals: Rahul Nambiar, Shakti, Bigg Nikk

All the ‘cowboy movie’ sounds are in place-clicking revolvers, neighing horses, pealing church bells etc; but what gives it an amusing touch is the use of lighthearted lyrics. Probably introduces the hero Lawrence Raghava! The guitars are businesslike in this number which seems to be a comical interpretation of ‘Pump It’ by Black Eyed Peas.

IKMS Theme:
Solemn notes from the trumpet, trombone and possibly harmonica, but a trifle monotonous.

Verdict:

G.V.Prakash has attempted something novel and offbeat this time, in keeping with the theme of the film. A credible storyline can add color to the songs on screen.

*Courtesy: Behindwoods

Kandhakottai

2009-12-19T15:59:00.000+05:30

Introduction:

Kandhakottai is a 2009 Indian Tamil action film directed by S. Sakthivel, starring Nakul and Poorna in the lead roles, whilst Sampath Raj plays a pivotal role. The film released on December 19 2009.

Plot:

A different concept, the story is about two youngsters. One is Siva (nakul) who is a nice guy but then he doesn't believe in the concept of love. True to his hatred, he also doesn't hesitate to go and break up love birds. On the other hand, there is Pooja (purna) from Nagercoil who believes strongly in the force of love and does whatever she can to ensure that lovers get united. The story takes a turn when Siva's sister falls in love with Pooja's cousin. As expected, Siva tries to break the couple while Pooja unites them. Finally, Siva gives up and at the same time, he develops feelings for Pooja. What happens from there forms the rest of the story.

Reviews:

Following the reasonable success of 'Kadhalil Vizhunthen', young Nakul, seems to be raring to make it big. Introduced by director Shankar in 'Boys', Nakul seems to be well on his way to becoming a sought-after star in Kollywood now.

Nakul is currently playing the lead role in 'Masilamani' after which he'll start work for Kandhakottai. Poorna, who featured in the films 'Kodaikanal' and 'Muniyandi Vilangiyal Moondraan Aandu' will play the female lead.

'Chennai 600028' and 'Saroja' fame Sampath Raj has been roped in to play the baddie and the rest of the cast include Santhanam, Sathyan, Ponvannan, and Kadhal Dhandapani among others.

Dheena will score music for the lyrics penned by Yugabharathy, Thamarai and Snehan. ESK Internationals, who churned out 'Jambhavan', is producing the film. The film will be directed by Sakthivel, who worked as an associate with directors Radha Mohan and Priya.

Review by "India Glitz"

There are certain ambiguities that need to be sorted out after watching Kandha Kottai. How come filmmakers are still beating the same bush with hackneyed stories? If so, how do producers okay such scripts and turn them into pictures spending lavish money? We’re sure; you will walk out of theatres with so many questions in your mind after watching this film.

Buzz up!

If there could be some movies that make you feel that you’ve wasted 140mins of your life, ‘Kandha Kottai’ is sure to hold a prominent place amongst the lists. The film doesn’t carry a single attribute to be appreciated. The script is tenuous as it cannot hold the attention of audiences while the screenplay is so boring that you feel like walking out of theatres prior to climax.

The film is about Siva (Nakul), who strongly objects a thing called ‘Love’ and is dead against the lovers and alienates them at any cost. On the other end, we’ve Pooja (Poorna) in Nagercoil completely opposite in nature to Siva as she strives uniting the lovers. When Siva’s sister Girija falls in love with Pooja’s cousin boy in Chennai, she sets out to ensconce the proposal in an affirmative approach. But then, there are conflicts between the Siva and Pooja, who’re like chalk and cheese.

At once, as Pooja reveals about what the real love is, Siva cannot withstand his firm principle and falls in love with her. But when Pooja reciprocates her proposal to him, she is swamped in problems as Annachi’s (Sampath) son in love with Pooja commits suicide after knowing about this affair.

Since, Annachi has promised his son that he will not harm Pooja, he starts killing the people around her. All that he wants is to make Pooja lead a widow-like life as he believes that girl was the cause for his son’s death.When Siva comes to know about these problems, things start taking a turn as he challenges Annachi that he’ll marry this girl within 3 days.

Nakul has to improve a lot in choosing the script. He never suits the role of a middle-or-low class guy. Be his previous Maasilamani or this one, he doesn’t suit the roughneck roles. Instead, he can attempt trying his luck on some appealing characterizations. Nonetheless, his dancing skills are marvelous and so is his vocalism for 'Eppadi Ennul Kadhal Vandhadhu'. Poorna has aped Asin throughout the show and she needs to choose better costumes, as the skimpy ones don’t suit her. Santhanam adds to the humor quotients with his rib-tickling comedy tracks, but that too turns to be hackneyed after certain extent. Sampath sleepwalks through his role as a baddie.

Dheena’s musical score is unimpressive for both songs and background score. Apart from 'Eppadi Ennul Kadhal Vandhadhu', none of the melodies sound commendable. Sakthivel hasn’t given prominence to technical departments of cinematography and editing, as there are lots of discontinuities between the shots.

On whole, Kandha Kottai lacks substantiality in both narrative and technical aspects and it has no chances of surviving at box office even for a week.

Review by "One India"

Kandhakottai Trailer:

Kandhakottai Music Review

2009-12-02T22:49:00.000+05:30

Music Director : Dhina
Vocals : Tippu, Dhina, Benny Dayal, Sowmya Rao, Devprakash, Nakulan, Naresh Iyer, Sadhana Sargam, Shankar Mahadevan, Suchitra.
Lyrics : Yugabharathi, Vivega, Kabilan.

Produced by Kalpathi S. Aghoram and directed by S. Sakthivel (his debut movie), this film stars Nakulan and Poorna (‘Muniyandi Vilangiyal Moonraamandu’) in lead roles. Nakulan, who had already lent his voice in ‘Boys’ and ‘Vettaiyaadu Vilaiyadu’, gets to sing a solo number here. Dhina scores the music and the album lists five songs.

Kalakalakkura Kandhakottai
Vocals: Tippu, Dhina
Lyrics: Yugabharathi

A typical ‘Nakulan style’ kutthu paattu that advocates a lively ‘hands-on’ approach to life and warns us not to stagnate. The zest in the verses is very well captured by Tippu’s lovely voice. Indian rhythms, guitar and keyboard sangatis add to the speed.

Kaadhal Pambu Unnai
Vocals: Benny Dayal, Sowmya Rao, Devprakash
Lyrics: Yugabharathi

The opening is slightly dramatic and swirling, so as to reflect the sentiments of the first line. A peppy number where the man tries to shy away from falling in love and the woman urges to give himself over to love to become a better person! Strong inputs from the guitar and keyboard, with a tiny percussive bit before the second charanam. Could briefly hit the charts.

Eppadi Ennul Kadhal
Vocals: Nakulan
Lyrics: Vivega

Nakulan springs a pleasant surprise on us with this neat and full-throated rendering. The lyrics are rather amusing with the man wondering what really made him fall for his girl! Nice use of violins and mandolin. The song seems to be based lightly on the Harikamboji scale. Could hit the charts for Nakulan’s voice.

Unnai Kadhali Enru
Vocals: Naresh Iyer, Sadhana Sargam, Dhina
Lyrics: Kabilan

A pleasant melodic duet in what appears to be Kiravani raga scale. A song of love and intimacy, it runs on easy rhythms. Good singing from both, except for the oddly stressed word ‘cholla’. The strings add a charming touch.

Dishyum Dishyum
Vocals: Shankar Mahadevan, Suchitra
Lyrics: Vivega

Obviously a dance number with suggestive movements, going by the frenzied pace of the song. What probably stops it from being a drag is the lively rendering of Shankar Mahadevan. Suchitra keeps pace with him.

Verdict:

Except for the novelty of Nakulan’s voice and the cool duet, this album does not have much to recommend.

*Courtesy: Behindwoods

Maasilamani

2009-06-20T12:00:00.000+05:30

Introduction:

Maasilamani is a Tamil film released in 2009, distributed by Sun Pictures. It stars Nakul, Sunaina, Pavan, Santhanam, Srinath, Karunas, M. S. Baskar, Delhi Ganesh, and others. The film is a tribute to yesteryear movies, as it follows an old kind of plot.

Plot:

Masi (Nakul) is an orphan living in a lower middle class colony. With a heart of gold, he is a popular guy who takes up local issues, fights for them and is considered as a rowdy by those who don’t know him. Enter the heroine Divya (Sunaina), a rich upper middle class girl who is a dance instructor and with whom Masi falls in love at the first sight. But Divya shows aversion to his rowdisam and gets offended with his proposal. Masi doesn’t loose heart and attempts to win Divya’s family by being a goody boy and dons another name, Mani. Except Divya, all are aware that both Mani and Masi is one person. Later when Divya finds out the truth, she gets into dilemma as whom she has to choose.

Bhoopathy (Pawan), the local corrupt Sub Inspector who is also behind Divya, is determined to flop the hero’s plans and seeks to uncover his disguise of Mani. He is always on look out to prove that Mani is none other than Masi, the rowdy. How Mani wins over Divya against all odds serves as the climax of the movie.

Cast:

Nakul as Maasilamani, the hero and well known do-gooder who falls in love with Divya.
Sunaina as Divya, a beautiful dancer, who abhors Maasi's aggressive ways.
Pavan as Bhupathi, a new police officer who wants to marry Divya but hates Maasi.
Santhanam as Pazhani, one of Maasi's friends.
Srinath as Kathir. one of Maasi's friends

Review:

The age old formula in Tamil cinema is given a new coat of paint with R.N.R Manohar’s Maasilamani. Don’t expect anything great, just sit back and watch the film as a mass masala entertainer meant strictly for a particular section of the audiences.

The film is plain silly at the same time funny in parts. It’s etched from various earlier films, and at times it looks like a sequel to the lead pair’s earlier film Kathalil Vizhunthen . The opening Nakul introduction song itself look similar to the famous Nakku Mukka…, even in picturisation and sets.

The wafer thin storyline is straightforward. Massi (Nakul) an orphan lives in a lower middle class colony, where everybody dotes on him. He is a mass hero who you see only in Tamil films- a popular guy in his colony who takes up local issues, fights for them, and has a heart of gold though those who don’t know him thinks he is a rowdy.

Massi falls in love at first sight with Divya (Sunaina), a rich upper middle class girl who is a dance instructor. She thinks that Massi is a rowdy and a creep and will not fall for him under any circumstances. Urged by his friends (Santhanam & Srinath) Massi becomes Mani, the soft spoken sophisticated guy with the clean look. He wins over her large family (Delhi Ganesh and others), due to his smooth talking and winning ways.

Though initially, Divya refuses to believe that he is Mani, a look alike of Massi the rowdy, soon he has her eating out of his hands. Enter Bhoopathy, the local corrupt Sub Inspector, with an eye on Divya and a determination to prove that Mani is none other than Massi, the rowdy. All this leads to a twist in the tale climax.

The film has all mass elements like larger than life hero, his introductory song, duets in foreign locations, sentiments, comedy and a predictable action scene inside a go-down. The comedy track of MS Bhaskar and Karunas where they pay tribute to all larger than life Tamil superstars and mass films is hilarious. D.Imman, after a long time has come out with some peppy music with Dora, Dora… being the pick of the lot.

Nakul is a fine dancer but has a long way to go to become a mass hero, while Sunaina proves she has it in her to make it big with a performance where grace and maturity are the keywords. On the downside, the film moves at a leisurely pace in the first half devoted mostly to songs and comedy tracks. The second half the film slowly picks up speed as the story unfolds leading to a thrilling climax.

Review by "Sify Movies - Movie Buzz"

Maasilamani Trailer:

Maasilamani Music Review

2009-05-18T16:10:00.000+05:30

Music Director : D.Imman
Vocals: Keerthi Sagathia, Feji, Baby Harini, Balram, Kalyani, Benny Dayal, Rita, Shaan, Mukesh, Suvi, Emcee Jesz

‘Kadhalil Vizhunden’ pair Nakul and Sunayna are back together for Kalpathi.S.Agoram’s’ Masilamani’. AGS Entertainment (remember ‘Thiruttu Payale’ and ‘Santosh Subramaniam?) are producing it and RNR. Manohar directs. The cast also includes Delhi Ganesh, Santhanam, Srinath and Meera Krishnan. D.Imman scores the music with Muthukumar, Vijay and Viveka penning the lyrics.

Chiku Chiku Boom Boom
Vocals: Keerthi Sagathia, Feji, Baby Harini
Lyrics: Viveka

Seems to be the kind of muscle-flexing song by the ‘pettai’ youth with a catchy opening line and good tempo from native drums. Is it the Blues Harp we hear that goes’ ni sa ri maa ri sa ni ni sa ni sa’ one minute into the song? And we hear some shehnai note too towards the end.

Dora Dora
Vocals: Balram, Kalyani
Lyrics: Pa.Vijay

Again, is it the Blues Harp we hear in the beginning when the male voice goes’ pookkalin desama? ’This is a pleasant melody on the Karaharapriya scale with the smaller ‘dha’ swara chipping in. Plenty of soft twinkling notes from the strings that add sweetness to the song - we seem to hear violins, mandolin, dilruba and others. The song grows on you for its nice overall feel.

Nacka Romba Nacka
Vocals: Benny Dayal, Rita
Lyrics: Na.Muthukumar

A very cool number, sure to climb the charts. The opening notes in Kapi raga that repeat often ’sa sa ni ni dha dha pa, ga ma ni pa ga ri sa’ set the rhythm for this song rendered with gusto by Benny. Sunny beats, good use of strings (is that the electric mandolin that plays the descending notes?) lighthearted lyrics, and added ‘dog barks’ all add zing to this song.

O Divya O Divya
Vocals: Shaan
Lyrics: Pa. Vijay

A big sabaash to Shaan for his lovely articulation and his ‘sangati-laden’ singing. What is interesting about this number is that the interludes seem to be in Mohanam raga and Shaan touches upon Hamsadwani when he sings. The notes from the guitars, sax and keyboard have been suitably subdued to give importance to Shaan’s voice. Good!

Odi Odi Vilayada
Vocals: Mukesh, Suvi, Emcee Jesz
Lyrics: Na. Muthukumar

Another stylish number from Imman with loud, generous native rhythms and the ’Kavithai Gundar’ man rapping in Tamil, English with a bit of Malay and Hindi! Jesz also appears on the screen in three different get-ups! One more fun number for the ‘Where is the party’ man Mukesh.

Verdict:

Imman has worked thoughtfully on this album, going by the tonal richness he has added by way of various string instruments and percussive rhythms. The songs are more tailored to Nakul’s personality than to the storyline! But definite to be appreciated!

Santosh Subramanium

2008-04-12T10:39:00.000+05:30

Introduction:

Santosh Subramaniam is a 2008 Tamil musical and romantic film which was directed and co-written by Raja Mohan while Kalapathi S. Aghoram produced the film. While Jayam Ravi and Genelia D'Souza played the lead roles, Prakash Raj and Geetha, prominent actors from the south Indian film industry, played the significant roles of one of the lead character's parents in the movie. The film is a remake of the successful Telugu language film, Bommarillu, which post-release sparked off a battle in Tamil film industry for the remake rights. Apart from Tamil, efforts to remake this film in Hindi with Amitabh Bachchan and Abhishek Bachchan, popular actors from the Bollywood, were unsuccessful, but Anees Bazmee has recently announced the remake, It's My Life, with Harman Baweja playing the role opposite D'Souza, who plays the character for the third time.

The film primarily revolves around a father and son relationship with the father's dote on his son ironically leaving a bitter taste with the latter. The son's choices and his wants to achieve something in life are always subdued by his father's. The father has a justification in the form of his dream, that is to build a dream house. When it comes to his son's marriage, the son breaks his shackles of respect only to experience the newly found independence. The film concludes with the father's repentance on his foolishness and the happy marriage of the protagonists.

The film opened to the Indian audiences on April 11, 2008 coinciding with Tamil New Year. On its way to winning accolades and rave reviews, the film became a trendsetter in Tamil cinema along with Yaaradi Nee Mohini, starting a trend for family orientated films.

Plot:

The film begins with a baby taking his initial steps on a beach while the father is supporting him. The narrator in the background (Sathyaraj) states that, it is right for a father to support his child in his infancy, but questions whether the father should continue to hold the child’s hand even after he is 24 years old. As the credits roll, a visibly angry Santhosh (Jayam Ravi) begins uttering abuses at all the fathers in the world. When inquired about his disgust, he says that his father, Subramaniam (Prakash Raj), gives him more than what he asks for. He cites instances where his choices of dressing, hairdo and many others are stashed away by his father’s. However, he vows that the two things that will be of his choice would be, his career and the woman he would marry.

Post-credits, Muthu (Sathyan) the Subramaniam dutiful household’s servant wakes up Santhosh in the morning. In the background, we see Santhosh’s mother, Lakshmi (Geetha) singing a devotional song while cooking. At the dining table, Subramanium, Managing Director of their construction company, inquires if Santhosh will join their office for managing their business. When Santhosh deliberates, his father doesn’t stand any longer and instead plans for his marriage despite Santhosh's silent protest. The next week, he returns home to realize that he is going to get engaged to Rajeswari (Kirat Bhattal) against his wishes. He speaks with her only to realize that she is a daddy’s girl (Vijayakumar being the father) and she not being to his liking. However, with Subramaniam’s final say, they eventually get engaged.

While contemplating on his options in a temple, Santhosh accidentally meets Hasini (Genelia D'Souza), an engineering student. Seeing her chirpy nature and vibrance, Santhosh begins to like her. He makes attempts to know her by meeting her on a regular basis. In the process, he starts liking her cherubic and ever-friendly nature and as someone who does what she loves. As days go by, he realizes about so many small things in her company that gave him happiness. He realizes that he has fallen in love with her.

Alongside this, Santhosh applies for a bank loan to start out on his dream of building his career. When his love for Hasini deepens, he wishes to propose to her. He confesses to her that he is engaged to get married to Rajeswari against his wishes, but what he really wants is her. On knowing of him being engaged, Hasini gets dejected, but comes back a day later and asks him to do what he wishes for and accepts his proposal. At this juncture, the ecstatic Santhosh is seen by a furious Subramanium. Santhosh is admonished back home and he expresses his disinterest in marriage with Rajeswari. When asked for his reason to like Hasini, Santhosh replies saying that if Hasini can stay with their family for a week, then all their questions shall be answered. He convinces Hasini to stay at his house after seeking permission from her father (played by Sayaji Shinde).

When Hasini is introduced to Santhosh’s family, she gets a lukewarm welcome. As she settles down in the house, one after the other begins to like her. Even though getting used to the living habits of the authoritarian Subramaniam's household was difficult, Hasini stayed put for Santhosh's sake. In the meanwhile, Subramaniam reprimands Santhosh when he knows of his bank loan and his plans, only to further enrage Santhosh. One day the entire family along with Hasini attends a marriage ceremony. A cheerful Hasini cheers up the ceremony with her playful nature. Coincidentally, Sayaji who happens to be around, recognizes Santhosh as the drunken young man whom he encountered on an earlier occasion. Hasini realizes her father's presence and quickly exits to avoid his attention. After saving their grace, Santhosh admonishes Hasini for her antics at the marriage. A sad and angry Hasini moves out of the house saying that she does not find Santhosh the same and that she cannot put on an act if she stays in their house. After getting back to her house, she rebuilds the trust her father has in her while Santhosh is left forlorn. Lakshmi confronts Subramaniam on Santhosh’s choices and wants. In the process, Santhosh opens up his heart and leaving Subramaniam to repent on his foolishness. Santhosh requests Rajeswari and her parents to call off the impending marriage. While they relent, Subramaniam manages to convince Sayaji about Santhosh and Hasini's marriage. In return, Sayaji wants to know more about Santhosh by having him live in house for a week. Subramaniam agrees with this and as the story returns to the pre-credits scene, the viewers are left to assume about the happy marriage of the protagonists.

Cast:

* Jayam Ravi as Santosh. A well-disciplined young man with dreams of achieving something big of his own without the interference of his father. The child in his heart is released when he gets to know Hasini.

* Genelia D'Souza as Hasini. A very vibrant, effervescent and a happy-go-lucky young woman who loves to live life to the fullest. Her infectious vivacity presents Santosh with a whole new world of liveliness and independence.

* Prakash Raj as Subramaniam (Santosh's dad). A father who visions of a happy and dream house after several years of toil. Everything for him should be like a picture that fills the jigsaw. This steals the house members, especially Santosh, of their individual persona and sheen.

* Sayaji Shinde as Govindan (Hasini's dad). A loving father to Hasini with a severe habit of drinking.

* Geetha as Lakshmi (Santosh's mom). A loving mother to Santosh who is instrumental in making her husband realize of his folly.

* Kirat Bhattal as Rajeswari. Plays the fiancé of Santosh until he breaks the engagement after he decides to marry Hasini.

* Santhanam as Srinivasan. A comic character who plays the friend of Santosh, along with Srinath and Premji Amaren.

* Premji Amaren as Shekar. Plays the friend of Santosh.

Production:

The key elements:

Despite early indications that the same team that had worked in the original, Bommarillu, involving Bhaskar and Dil Raju would remake the film in Tamil, the pair cited they were not interested. Dil Raju, willing to sell the remake rights held twenty previews in Chennai for potential buyers. Veteran editor, Mohan, under his home compnay - Jayam Combines, outbidded Prakash Raj who wanted to remake the film with Vinay Rai in the lead role. Furthermore others beaten included Vijay under Appachan Films, Vishal Krishna under GV Films, Bhagyaraj for his daughter, Saranya, and Ravi Krishna under the banner of A. M. Rathnam. Mohan handed the director's role to his son, Raja Mohan, whom was a classmate of Bhaskar, and the lead role to his second son, Jayam Ravi. The film would become the trio's fourth consecutive Telugu film remake, following their previous ventures. Soon afterwards, the production house announced an ensemble cast, which included Prakash Raj, Geetha, Sayaji Shinde, Kirat Bhattal and Kausalya in prominent roles. Other actors were added later including Santhanam, Premji Amaren, Srinath, Sathyan, Vijayakumar, M. S. Baskar former cricketer Sadagoppan Ramesh and Sathyaraj as a narrator.

The entire production of the movie took about nine months to be completed. The technical crew for the project, was predominantly the same in comparison to the company's previous venture, Something Something Unnakum Ennakum. The film had its launch on July 16, 2007 with the attendance of all the lead actors in the film, including guests such as Dhanush, Sibiraj and Jeevan. The invitation card for the launch was highly appreciated, with images of prominent fathers and sons from India, ranging from cinema to politics.

Casting, location and music:

The choice of Jayam Ravi was because of the fact that his father owned the production rights and his brother directed the project. The choice of Genelia was due to her performance in the original, for which she was critically praised and gained stardom with. Despite experiencing flops in her previous some of her previous Tamil films like Sachein and Chennai Kadhal - she felt that the film would change her status in the industry. The camaraderie that the lead actors shared during the filming, added on to their good performances. The choice of Prakash Raj was easy as he befitted the character he portrayed while as well as starring the original, Geetha was persuaded to play the role of the lead actor's mother.

The palatial house where the entire family stayed in the film is part of Ramanaidu Studios at Nanakramguda, Hyderabad. Several modifications were done by the art director, Prakash. A couple of the songs were shot in a montage, another couple in Wellington and other places in New Zealand and one song each in this house set and at a temple in Kakinada.

For the film's music and soundtrack, Raja renewed his previous association (Something Something Unnakum Ennakum) with Devi Sri Prasad, who predominantly used his tracks from the original. Savitha Reddy rendered the voice for Genelia's character in the movie. A feature of this film is that the lead actor in the original, Siddharth Narayan, sung one of the tracks from the film.

Release:

Reception:

Santosh Subramaniam was released worldwide with 72 reels of the film's print. Owing to the success of the film, the number of reels grew to about hundred. The film was released with a "U" (Universal: Suitable for all ages) certification by the Central Board of Film Certification of India, with the censors claiming the film to be "family-orientated". After opening at number one, the film has garnered over 2.5 crores in Chennai alone by the end of the seventh week, as well as, over 5 crores nationwide in India, despite the presence of the Indian Premier League's prominent television ratings. The film went on to complete a golden jubilee run at the box-office.

The reception in the United Kingdom was equally successful, entering the United Kingdom Box-office at number 40. Released in four major metropolises, the film collected £10,067 in its first week of opening. The film received a cumulative gross of £24,962 in the United Kingdom playing for three weeks.

Critical acclaim:

The film received rave reviews right from the story to the performances of the actors. Rediff entertainment portal gave the film a rating of 2.5/5 tagging the film's review that it fails to live up to the original, whilst suggesting the movie to the entire family. The three lead actors, Jayam Ravi, Genelia D'Souza and Prakash Raj, garnered praise for their portrayals. With The Hindu signalling that the trio have come up with "nuanced performances". Sify Entertainment describes D'Souza's portrayal as "the soul of the film" and the film's "biggest strength", whilst calling Ravi "mature" and Prakash Raj "outstanding". Rediff, however described D'Souza's character as "appears a little too good to be true", whilst praising Prakash Raj claiming that the role "was a cakewalk" for him.

Sify praises Devi Sri Prasad's music while Rediff singles out editor Mohan's work as "slick and neat, dwelling just the right amount in the right places, and moving away the narrative when necessary". The film was generally well received by critics alike.

Santosh Subramanium Trailer:

Thiruttu Payale

2006-04-22T10:38:00.000+05:30

Intorduction:

Thiruttu Payale (2006) is a Tamil film directed by Susi Ganesan. As like other Susi Ganesan films it is a real life experience based entertainer/thriller. The movie stars Kaaka Kaaka fame Jeevan, Sonia Agarwal, Abbas, Malavika, Vivek, Manoj K Jayan and Charlie. The film's music is composed by music director, Bharadwaj.

Plot:

Manickam (Jeevan), belongs to a poor family in a village. He does not respect any of his family members, except for his uncle (Vinod Raj) who lives in Chennai. The story gets rolling once he decides to come and stay with his uncle at Chennai.

Once while he is watching people playing golf, he notices Roopini (Malavika) and Ramesh (Abbas) having an illegal relationship. He manages to capture the same in his video camera. Roopini is the wife of a rich businessman (Manoj K Jayan).

Manickam blackmails Roopini and extracts money from her whenever he needs. Once he makes a trip abroad to Australia with Roopini’s expenditure. There he happens to meet Rosy (Sonia Agarwal). He falls in love with her. Rosy tells him that she is a very rich girl from a respected family. While he decide to propose to her, he finds that she has left the city. He is upset and just at that time, Roopini makes a phone calls and tells him that Rosy was sent by her only to woo Manickam and demand that if he needs Rosy, he needs to hand over the cassette to her.

From that point on does Manickam get his love back, or does Roopini her cassette back forms the rest of the story.

Review:

After starting with a native theme in his debut film Virumbigeren, Susi Ganesan seems to have been inspired by Bollywood ideas. His Thiruttu Payale reflects exacts contemporary movies in Bollywood. But to be fair to Susi Ganesan, he has given enough nativity to the script making it engrossing for the local audience.

The story centers on the negative side of a man who takes the easy way out to make money (blackmailing after knowing the secret of a woman) and the trial and turbulations that he faces after that.

Jeevan, plays the anti-hero role well, quite different from his earlier film Khaakha Khaakha in which his villainous role won him applause. Equally supportive is Sonia Agarwal, who oozes glamour in the first-half only to fade away after that. The surprise packet in the movie is Malavika. After a very long gap, she has got a role to perform and she has not missed the opportunity.

Manickam (Jeevan) is sent to the city by his parents unable to put up with his arrogance. In Chennai, he comes across Roopini (Malavika), wife of a rich young entrepreneur (Manoj K Jayan). She gets attracted towards Santosh (Abbas), a friend of her husband and they develop an affair.

Manickam captures in a hidden camera their intimacy and begins to blackmail her. He demands her to foot all his bills and even ventures on a trip abroad. Several attempts to get the video CDfrom him prove futile.

Meanwhile in Australia, Manickam comes across Rosy (Sonia Agarwal) and instantly falls for her. Soon she disappears.On his return to Chennai, he gets to know that Rosy was sent by Roopini on a mission to make Manickam fall for her. When Manickam enquiries about Rosy, Roopini wants him to hand over the CD and then she would help him meet her.

Meanwhile growing suspicious of her wife's behaviour, Manoj hires a private detective to follow her. Manickam comes across Rosy and promises to get reformed if she marries her. The rest is about how all issues are sorted out and whether Manickam achieves his mission to Marry Rosy. Jeevan as Mainckam is impressive. His body language and diction seems to have undergone a pleasant change. When much was expected from Sonia Agarwal, the actress unfortrunately disappoints. She has got very little opportunity to perform. Malavika has come up trumps. Her desperate attempts to get the video clippings from Jeevan makes for interesting cinema. Manoj K Jayan and Abbas chip in with their best. Vivek plays Jeevan's friend in Australia and does succeed in evoking laughter.

The highlight is the cinematography of Ravishankar. Using the wide-angle lenses well, he has provided visual back-up to the script. Be it capturing the beautiful locales in Australian beaches or the green lawns of Madras Race Club, he has given his heart-out. Bharadhwaj's re-recording is also very brisk helping in sustaining the tempo.

Susi Ganesan sure knows to tell a tale. A tale that is not run of the mill. And there is also no attempt to shortchange the public with gimmickry in the name of entertainment.

A sincere attempt to give a different cinema by Susi Ganesan deserves a special mention.

Review by "India Glitz"