Kannamoochi Yenada (Prithviraj, Sathyaraj, Sandhya, Radhika)

Movie Review

The filmmaker makes her presence felt in an arena which is dominated by men. Priya is one of the rare species of fledgling directors in Tamil film industry, who had earlier worked with the likes of Mani Rathnam, had registered her mark as a distinctive filmmaker with her debutant venture ‘Kanda Naal Mudhal’, produced by Prakash Raj’s Duet Movies.

Feel good factor is the term you could use to describe ‘Kanda Naal Mutdhal’ and Priya’s latest offering ‘Kannamoochi Yaenada’ too fits the bill perfectly. The additional dimension of course, is the comedy element that runs through the entire movie.

‘Kannamoochi Yaenada’ offers you a non stop comedy with a love story set in the backdrop of a well knit family. The bondage between the family members is in for trouble following the entry of the young man with full of love and a few lies. The whole family endorses the feelings of the girl of their family and loves the boy but the head of the family, a tough Cop, refuses to be impressed.

The game of hide and seek between the Cop and the boy starts. The game is contagious enough to catch up almost everybody. The boy’s uncle, with vested interest, provides some twists and the family is split – literally – over the question of accepting the boy. You get to experience some hilarious moments before everything falls in line.

It is a typical cinematic love at first sight for Prithviraj, a software architect in Singapore, who falls for Sandhya, a psychiatry student. The boy easily breaks the reluctance of the girl and makes her fall in love. The girl convinces her family living in Chennai over phone and gets the boy with her to introduce him to the family.

Everyone accepts the boy except the father of the girl (Sathyaraj), who is the Commissioner of Police. He too is not able to reject him as he respects the feelings of his daughter. So he wants to eliminate the boy by playing some tricks while the mother (Radhika) supports the boy whole heartedly.

Prithviraj lost his parents in his young age and brought up by his uncle (Radha Ravi), an orthodox Brahmin. He is upset over the choice of the girl, who belongs to a different caste. He turns hostile and discards Prithviraj.

The fun filed hide and seek game between Sathyaraj and Prithviraj gets bizarre by the prank played by the uncle. The Cop becomes tough and the boy is ousted. Radhika revolts and gets out of her husband’s hold. Sandhya is disappointed with Prithviaj for his lies. The family falls apart and so does the love.

Then comes a twist in the tale in the form of Sripriya and the rest of the story narrates how the tight spot is solved.

Priya has done a commendable job by presenting a feel good family entertainer with full of comedy without much dependence on gimmicks and clichés. She has conceived some lively scenes to illustrate the tug of war between Sathyaraj and Prithviraj besides presenting funny moments involving the whole family. The scene when Sathyaraj is leaving for Ooty and the scene when the meeting between Sathyaraj and Sripriya takes place stand out.

The way Sathyaraj making truce with Radhika is touchy. The dialogues by A. Sivakumar are sharp and comical. Sripriya’s role is a surprise.

The director could have worked better on characterization. The police commissioner behaving in such a comical manner – especially in the later part of the movie – is quite unacceptable. Though the director hasn’t taken much liberty in the name of comedy, she could have established a credible reason behind Prithviraj’s inability to reveal his position even to his lover. The extreme behavior of the uncle too is not convincing. The way the love blossoms leaves much to be desired.

Since it is obvious that the young lovers would come together following the reunion of Sathyaraj and Radhika, the build up towards the final ‘twist’ is rather irritating. The finale could have been sharp and crispier.

Priya has executed many scenes with aplomb. The way the family receives Prithviraj is deftly portrayed. The turning point post interval too is effectively told. Priya has also conveyed a subtle message that it not only physical violence or explicit insult that could make a woman a subdued person within the family. She has driven home the point that not giving due respect in every respect too is a violence against woman.

Performance wise, Sathyaraj steals the show with his top notch performance. His body language, dialogue delivery, and timing sense are amazing. Prithviraj shows improvement by trying to match the veteran. His charm and enthusiasm do enliven the proceedings.

The effervescent Sandhya resembles Jyothika in her expressions. She looks cute but doesn’t get much scope amidst a horde of stars. Radhika impresses by underplaying her role. Manobala effectively provides comical support. Sripriya handles her role with ease.

Yuvan Shankar Raja has come out with yet another hit musical track. The ‘Kannamoochi’ song stands out and the remix version of ‘Anru Vanthathum’ is enjoyable.

Preetha, the cinematographer, has done a wonderful job. She has spectacularly captured the locales of Singapore and Ooty.

Overall, ‘Kannamoochi Yaenada’ has come out as a family entertainer despite some flaws.

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Polladhavan - Dhanush, Divya, Santhanam, Murali, Daniel Balaji, Bhanupriya

Very rarely we come across realistic portrayals in Tamil cinema. Some filmmakers do deal with various shades of life but more often than not they indulge in diluting the reality in their pursuit to ensure commercial success. Some directors, however, achieved the rare combination of undiluted reality meeting with commercial success. Debutant director Vettrimaran’s ‘Polladhavan’ has all potential to become one such attempt.

The movie opens with a gruesome fight involving Dhanush. The movie revolves around a clash between a person belonging to mafia and an innocent lower middle class boy. The narrative moves on in a non linier manner with the two narrating the story from their respective angles. No, please don’t get it wrong. It is not Akira Kurosawa’s Roshoman like narrative where in you get different perceptions on a single event. In ‘Polladhavan’, the narration is shared by two characters.

Prabhu (Dhanush) who has just now brutally attacked three thugs with a sword comes out of the building and rests his wounded body on his beloved bike. He is now heading towards meeting his praise catch that is Ravi (Danial Balaji), the younger brother of all powerful mafia leader of North Chennai Selvam (Kishor Kumar). He recalls, for a moment, what that bike has brought to him before moving ahead for his hunt.

The flash back shows the happy-go-lucky boy longing for a Pulsar bike. It goes to show the life in a North Chennai street where life is quite difference from that of South Chennai. The boys are playing carom board on the street. Prabhu is sharing the pain of his failure to get what he loves most - a bike and a girl.

The narration shows the status of Prabhu’s family. The father is the breadwinner of the lower middle class family and the boy, a jobless graduate, is roaming around without responsibility. When caught red-handed for stealing pittance from his father for booze with his friends, Dhanush questions his father’s responsibility towards his upbringing.

The father feels humiliated and reacts sharply by arranging 70,000 rupees through his hard earned savings. He gives the money to his son and asks him to do something on his own.
The boy immediately gets one of wishes fulfilled. He gets a bike. His family is stunned. But Prabhu is determined to get a job, and fortunately he gets one with the help of his bike. He joins as a loan officer in a bank.

His other passion – to woo a girl (Divya Spandana) he meets in the bus stand for more than two years – too gets fulfilled. Prabhu is the happiest person on the earth. He has got a bike, got a girlfriend, and a decent job.

Everything gets terribly disturbed when everything seems to be well. There is another world beneath the surface. There is a mafia gang that deals with drug trafficking and various other anti social activities. Selvam is the leader of the all powerful gang.

The gang has its own complications. The younger brother Ravi of the leader is not happy with the way he is treated. He is full of jealous and anger on a gangster named ‘Out’ (Bhavan), who is the trusted lieutenant of Selvam. The leader is not supporting his brother doubting his talent. Ravi’s grudge against his brother and out grows stronger day by day.

Prabhu has a tryst with underworld when his bike gets stolen in a spot where a brutal murder takes place. Dhanush is shattered. He wants his bike back at any cost. Unfortunately, he gets to lock horns with the underworld criminals in his pursuit to find his bike. He gets into dangerous zone but his blind passion towards his bike pushes him forward. This put his and his family’s life in danger. His love is in danger. The inner conflict within the underworld makes his condition worse. He is in for trouble. Big trouble indeed.

Does he get back his bike and love? Could he save is family from the brutal gang?
Director Vettrimaran has come out with an engrossing and realistic experience on celluloid. Making films based on the lives of underworld is not new but making it with amazing reality is. Though the movie resembles Selvaraghavan’s ‘Puduppettai’, it maintains its individuality by sticking to a well crafted script and stylish execution.

Director and his team have done their home work neatly. They have captured the dialects, mannerisms, and life style of the underworld mafia group with precision. The film has also unearthed some hitherto unexplored areas like bike theft network. He has also illustrated the functions of a modern banking network well.

The characterization too is worth mentioning. Especially the character of Selvam. The nuances of father-son relationship too have been portrayed well. Well done Vettrimaran!
R. Velraj, the cameraman, deserves special mention. He has worked wonders in capturing the gruesome reality of the underworld. The lighting in various time spaces is wonderful. The picturisation of climax fight is outstanding.

As far as the script is concerned, the compactness is marred by two songs. One is the marriage song and another one is the item song. The love track too is weak.

Portraying an innocent, turning into a warrior is a cakewalk for Dhanush. He has done it in the past and does it here with amazing ease. He has credibly depicted the transformation within the character.

Daniel Balaji, Bhavan, and Kishor Kumar have brought the underworld with all its colors and shades with astonishing perfection. They all have lived up to the expectations of the director and have added credibility to the reality f the movie.

Though Divya doesn’t get any scope to act, she looks pretty and adds glamour to the fare. Her pleasant looks serve as balancing factor to the otherwise gruesome movie.

Karunas has rendered a commendable performance as an auto rickshaw driver, who helps Dhanush in his endeavors. His dialogue delivery and expressions are amazing. Santhanam, as usual, plays the friend of the hero and gives comical relief.

Murali and Bhanupriya as Dhanush’s parents have done their parts well. They together flawlessly portray a lower middle class family.

Young music director G.V. Prakash has done wonders. The songs, which are already rocking, are well picturised. The remix version of ‘Engeyum Eppothum’ stands out. One wonders how SPB has maintained the sweetness of his voice for so many years. Yogi B, the sensational Malaysian singer is a revelation. ‘Minnalgaley’ sung by Karthik and Bombay Jayashree is a soothing melody. The background score adds value to the entire proceedings.

The bottomline: ‘Polladavan’ is a clear winner with its reality, style, and performances. Though the violence, in some places, does make it a gruesome experience, the brutality reflected in the narrative has been justified by the script, as it attempts to show the life of ruthless underworld. Here the rules are different and so is the reality. The A certified film is strongly recommended for those who have stomach to digest some hard reality and gore violence. After all, we have seen more violence on some U certified movies as well.

Azhaigiya Tamil Maagan (Vijay, Shreya, Namitha, Santhanam)

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Azhagiya Tamil Magan (Vijay, Shreya, Namitha, Santhanam)

Azhagiya Tamil Magan’ banks heavily on Vijay’s charm and performance. The Ilaya Thalapathy has lived up to the challenge created by the huge success of ‘Pokkiri’. He looks stylish and handsome. He lights up the screen by his dynamic performance.

Director Bharathan has exploited Vijay’s strengths well. He has provided a perfect entertainer for Vijay fans by giving ample chance, including dual role, to Vijay to come up with a stylish, action packed, romantic heroism.

Vijay plays both hero and villain. The first half is filled with romance and a mystery surrounding Vijay’s Extra Sensory Perception (ESP), while the second half is dominated by the tug of war between the two Vijays.

Let us first look at the storyline. Guru (Vijay) is an athlete and business management student. Abhinaya (Shreya) is the daughter of a business baron (Ashish Vidyarthi). They meet and, what else, fall in love.

The movie goes on to show how the lovers manage to get the permission of the parents. In the meantime, you get to see a different dimension in the tale while the romantic drama is unfolding. Vijay visualizes some bizarre scenes inside his mind. The scenes are disturbing and worse, they become true in the real life.


A psychiatrist (played by Dr. Rudran, a professional psychiatrist) confirms that it is ESP power and says that the imageries visualized by Guru would actually happen sooner or later. Unfortunately Guru visualizes another scene which he would never like to see happening. Sensing a danger to his sweetheart, he runs away to Mumbai from her to save her.

In Mumbai he stumbles upon a person, who looks alike himself. This gives him a different meaning of the horrible incident visualized by him. Before catching the man, played by Vijay again, Guru gets into an accident and the new man moves to Chennai where he is mistaken as Guru.

Stylish and care free Prasad, the look alike Guru, is a greedy person, who would do anything to earn money and enjoy life. Abinaya mistakes him for Guru and gets him to her house. Sensing his strength, Prasad decides to act as Guru and marry the rich Abhi.

The real Guru comes back and tells everyone the truth. But no one is ready to believe him, as he is outplayed by the wicked Prasad in each and every move. Finally the truth prevails but not before the tensed battle between the two with lot of twists and actions.

Before going in to details we must say that ESP is not a proven scientific fact and hence the director putting it as a matter of fact is unacceptable. We could have digested it if the director had presented it in a different manner without pretending to be scientific.


Coming back to the script, the director has come up with a new idea in form of ESP to provide twist in the tale. Though the idea of double role is not new, Bharathan had made the tough of war between the two interesting by conceiving a few interesting sequences.

The first half however, is dragging too much to the comfort of the audience. The efforts to convince the father and mother, one by one, play as speed breakers. The way the girl falls for the hero lacks imagination. The ESP imageries and Vijay fighting with Vijay have been executed well.

The director has done well in presenting Vijay - the USP of the film. The hero looks handsome, and stylish. The second Vijay in particular, is simply awesome in his styles. Vijay has presented a virtual treat for his fans by his mannerisms, actions, voice modulations, and body language.

Shreya, arguably possessing the most stunning and sexy figure among today’s heroines is simply ravishing. She and the director, of course, pretty well know that acting is not her forte and hence bank on her USP, which is her curvaceous body, to make the proceedings, especially the songs attractive. Namitha is effectively used for a scintillating song.

Santhanam as Guru’s friend doesn’t go overboard and provides some comical relief. Good performers like Sayaji Shinde and Ashish Vidyarthi are wasted in insignificant roles.

A.R. Rahman’s music is outstanding. In fact that songs sound better when heard – and seen – in the movie. ‘Maduraiku Pokaathey’ and ‘Valaiyapatti’ are quite attractive. The remix version is more convincing when seen in the context. The background score is effective in the scenes when Guru gets ESP images.

Balasubramaniam’s camera work is spectacular, especially in song sequences. The scenic beauty of Phuket Island and other locations are amazingly captured. Larencce has made wonders in choreographing. Vijay’s dancing movements are quite stylish.

Vel - (Suriya, Asin, Lakshmi, Aiswarya, Saranya, Ambika Nazer, Kalabhavan Mani, Vadivelu, Raj Kapoor, Vaiyapuri)

Review


Hari, one of the best commercial directors in Tamil, has lived up to the expectations in ‘Vel’. He has presented a racy film that provides a perfect entertainer. The movie has action, sentiment, and romance. The script, which is compact, is well complemented by the performances.

The two layered story unfolds nicely. The story opens with a family with a twin children losing one. The separated boys grow up in different environments. The one grows in Chennai becomes an officer (Vasudevan) in a private investigative agency and the other grows in Dindukkal becomes a typical rusty young man (Vetrivel).

The city bred Suriya charms RJ Asin through his professional ethics. Rusty Vel is engaged in the bloody tussle with Kalabhavan Mani, who has deep rooted enmity against the family. Vasu is full of brains and smile while Vel lives with sickle and dangerous duels.

Vasu’s mother (Saranya) could not forget her lost son. She is longing to bring him back to her home. But she couldn’t find his whereabouts. The family, in which Vel lives, is so affectionate with him. Especially the grand mother (Lakshmi) is emotionally dependent on him.

RJ Asin accidentally finds Vel and informs Vasu. Vasu goes to the village and meets his brother. The family refuses to send Vel to his original family. Vasu, understanding their unadulterated affection towards Vel, agrees to give up his claim.

But he has one request. Vel should go to Chennai pretending as Vasu and live with his mother. Vasu in turn would act as Vel in the village. Vel accepts.





Vasu continues Vel’s struggle against powerful Kalabhavan Mani but with a different approach. Vasu uses his brain and investigating network instead of muscle power. The rules of the game changes, and Mani finds himself cornered.

The movie goes on narrating fierce fight and sentimental drama between the two families over Vel.

Director Hari is known for his compact script and smart execution. Though he has proven his caliber in a few films life ‘Samy’, ‘Vel’ is easily his best film. It showcases his ability to create a racy entertainer. He has treaded in a safe path to make a commercially viable film by choosing a routine theme based on sentiment and action. But the treatment he has given to the story is commendable. You cannot single out a scene that is boring or redundant.

He has conceived and executed the action and romantic sequences equally well. The pace is ensured from the word go. The two dimensional climax – action and sentiment – is quite appealing.

For Suriya, the roles are not as challenging as the ones in ‘Pithamagan’, ‘Gajini’ or ‘Perazhagan’. He gets routine roles but his handling makes them look special. He breathes fire as ‘Vel’ and spreads charm as Vasu. Though there is no much difference in the get ups, he has differentiated both roles by his body language and dialogue delivery. His action in emotional sequences is touching. His on screen chemistry with Asin clicks once again.

Asin doesn’t have much to perform but she does have her moments. The initial roles showcase her magical charm. She has handled her role with amazing ease and brilliance. She shows her caliber when she looks at her lover in the village house with admiration and love.

Kalabhavan Mani, as villain with comical traits, rocks. The man adds life to the proceedings by his inimitable style. Vadivelu’s comedy is simply amazing. The man is definitely one of the major assets of the film.

Saranya and Lakshmi do their parts well. Raj Kapoor as the uncle of Vel and Charlie as Vasu’s friend are competent.


Yuvan Shankar Raja’s music is soothing to the ears. The songs sequences, however, are not among the pluses of the movie. In fact, songs do weaken the pace of the movie.

The bottomline: ‘Vel’ rocks with racy script and powerful performances. Surefire entertainer to brighten up the festival season.

Director: Hari

Producer: M. Chinthamani

Cast: Surya Sivakumar, Asin Thottumkal, Vadivelu, Aishwarya,

Kalabhavan Mani, Nassar, Charan Raj, Lakshmi, Saranya

Raj Kapoor, Charlie

Music: Yuvan Shankar Raja

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