Oram po Live Movie (Cast: Arya, Pooja, Lal, Jagan, Ashwini, Nellai Siva, John Vijay)
Bigilu's intended bride Rani and Chandru are in love. This naturally causes a split in the Bigilu-Chandru friendship. Son of Gun hatches a new plot, gets hold of Bigilu's workshop and Chandru's auto and what happens ultimately forms the climax of the story.
There's a healthy trend in Tamil films where too much emphasis is not laid on sentiment factor in the story. Pushkar-Gayatri's 'Oram Po' belongs to this genre.
Playing auto driver Chandru, Arya's role is quite casual. How he 'covers' biriyani seller Rani…and when she tells him she's pregnant, how he coolly tells her that these things don't work for him…are things that are contrary to a Tamil cinema's hero's reactions. If there had been of the Chennai touch in his lingo and clothes, the Chandru character would have been more effective.
Lall plays the role of Bigilu. Having seen him always as a villain, it was a pleasure to see him in a friendly role. Where women are concerned, he has certain principles like "just eating biriyani and going about one's business." But how he gets mad when his friend plays up with his fiancée, but does visit the jail to bring him out, adds dimension to his character.
Once the 'deed' is done, her lover ditches her but the biriyani seller throws him out of her life with a few drops of tears and a few curses. Pooja is wonderful in her role as the biriyani seller.
But the most striking of all is the lovable opponent – not villain - Son of Gun. His drawling Thoothudi lingo and some of his dialogues like "Let's not commit the sin of parting the dogs," are hands down winners.
This sprightly film on autos does away with the usual main ingredients of a Tamil film like chastity, heroism and villain. Dialogues are a strong point of the film. Words like naai, underwear and mayiru flow through the film but these are mainly to bring out the character of the persons and thanks to the Censor Board for not using its scissors!
Pushkar-Gayatri have also broken the sanctity of love. In the duet songs, the hero teaches the heroine cuss words and about pleasures of the flesh.
To bring the barking of street dogs to a crescendo when Bigilu and Chandru have a spat, when a Simbu look alike comes for the auto race, to use appropriate dialogue delivery and background music like in a Clint Eastwood cowboy film, using the police band set music when there's a police parade on…composer GV Prakash Kumar has used appropriate sounds for the background score. This handling is very easy on the comic aspect of the film. Even though it's difficult to make out the words in the Tasmac song, it is nonetheless rather catchy. The Aandi bit and Ganapathi song in Nandavanam are cool!
One has to mention the careful editing by Antony that does not spoil the mood and Kalyani's dance. From the very first scene, cameraman Nirav Shah's cinematography is impressive as it moves from room to room. But there are also some scenes that makes one wonder if the camera is indeed wielded by him.
The local Tasmac shop, workshop and subtenant quarters are all brought to life by art director Milan.
For this auto ride, one can pay above meter charges to the directors Pushkar and Gayatri!
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