Iniya Interview

Cinemimi[Saturday, October 22, 2011]
Interviewer : Nathan | Camera :Pranavikha | Video Editor :Siva

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THOONGA NAGARAM MUSIC REVIEW

THOONGA NAGARAM MUSIC REVIEW
Cinemimi[Thursday February 02,2011]

Review by : cinemimi team

Music Director : Sundar C. Babu
Vocals : Palghat Sriram, Hariharan, Chinmayee,
Chandrababu, Karthik, Madhu Balakrishnan, Shankar Mahadevan.
Lyrics : S Gnanakaravel, Thamarai, Narayana Kavi, S Annamalai

Dhayanidhi Alagiri is introducing Gaurav to Kollywood as a director and an actor in his latest production Thoonga Nagaram. The movie has Vimal, Bharani and Anjali acting in important roles. The music of Thoonga Nagaram has been scored by Sundar C. Babu. The audio of the movie




was launched recently at Sathyam Cinemas in Chennai and let us see how the album fares.

Vaigai Siricha Thoonganagaram...
Vocals: Palghat Sriram
Lyrics: S Gnanakaravel

Palghat Sriram gives an outlook of Madurai in this song. The city is the hero in this song. Nothing special about the music here but S Gnanakaravel perfectly describes what Madurai is all about. From ‘Sanga Tamizh' and 'Lanthu Tamizh' to the markets, theatres and the gopurams, Vaigai Siricha is like a travel guide to people. The song also throws light into the friendliness and the gutsy behavior of Madurai people. An apt song to mark the start of the album!

Koorana Paarvaigal...
Vocals: Hariharan, Chinmayee
Lyrics: Thamarai

Koorana Paarvaigal is a melody song. The music arrangements are surprisingly low key but augers well for the song as Hariharan and Chinmayee's voices are clear and lovely to listen to. Thamarai's lyrics are poesy and add value to the song. A breezy number which will catch up on you after a couple of listens.

Kalyanam Kalyanam (Remix)...
Vocals: Chandrababu, Karthik
Lyrics: Narayana Kavi

Legendary actor Chandrababu's Kalyanam Kalyanam song is brought to life here. A bit of DJ mixing in between with some usual sounds is what this remix is all about. Karthik does a decent job in describing marriage and its bliss. This song should be aired on radio and television just for the popularity of its original version.

Ettu Kangalukkum...
Vocals: Madhu Balakrishnan
Lyrics: S Gnanakaravel

The start of this song start on the same notes of a popular yesteryear song but this one is about friendship and the bond friends share for years. Again the music does not impress much and Madhu Balakrishnan's effort does not help the cause either. The song fails to make an impression!

Nee Siricha Kondattam...
Vocals: Shankar Mahadevan
Lyrics: S Annamalai

This is like a 'thiruvizha song'. We can easily visualize the song while listening to it. Shankar Mahadevan's subtle modulations give the required zest to the song. This high octane number must catch up with the audience once they see Madurai's beauty on screen.

Rhythm of Thoonganagaram...

An intriguing start paves way for the traditional drums (molam) and trumpets and though it is short it is quite an interesting listen.

Theme of Thoonganagaram...

The theme generates curiosity as you travel with it. Just when the music gets grander nearly reaching the peak, it comes to an abrupt end leaving us with a heavy feeling. Maybe that is how the movie intends to be...

Verdict:

Overall, Thoonga Nagaram shines in bits but is not a well etched album. Though Sundar C. Babu has used different sounds with the traditional folk instruments, the songs fail to live in our memories for long. The songs could fit in the movie with apt situations. Thoonga Nagaram is a decent album to listen to but fails to captivate us.

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VAADA PODA NANBARGAL MOVIE REVIEW

VAADA PODA NANBARGAL MOVIE REVIEW
Cinemimi[Thursday February 02.2011]
Review by :Cinemimi team

Starring: Nanda, Sharan, Yashika
Direction: Nanigai
Music: Siddharth
Production: P. Arumaichandran


Friendship, destiny and sheer coincidence; these are the three most prominent players in Vaada Poda Nanbargal. Directed by debutante Manigai, and consisting predominantly fresh faces in lead roles, Vaada Poda Nanbargal tells the story of friendship of two young men from vastly different backgrounds. The title suggests a fun filled account of a friendship where both the boys involved are on back-slapping terms with each other.




There have been many films in the past which have used the universal theme of friendship to reach out to audiences even without the presence of any stars. Vaada Poda Nanbargal also looks to travel along the same path. The difference here being that the two friends have not seen each other; their friendship starts from the current generation’s favourite online hobby – the chat, and grows through other modes of telecommunication like the mobile phone etc. The director must be acknowledged for being very contemporary here. But, what good is an online friendship, one might ask. How much faith and connection would such friends have in each other? This friendship too is like that to start with. But, a fortunate turn of events, thanks to technology and photo sharing, makes one of them regain something very valuable in his life which makes him greatly indebted to his friend. That is where the bind gets stronger. But, an online friendship, does have its own limitations. The very technology that made them friends in the first place also plays spoilsport; online identities which are far removed from real life; and threatens to mar the relationship, again through a thoroughly unexpected sequence of events.

At the outset, the premise does look interesting – friends who have never seen each other! This kind of concept has worked before; except it was not about friends, but lovers. Here the director fails to create the same suspense or magic which goes with a very strong relationship where the people involved have not seen each other. Part of the reason for that is the sequence of events in the script. A linear pattern of narration makes the goings on very plain. Also, the director has not been able to make the audience feel the depth of the friendship which works against the movie. More importantly, the sequence of events which leads to the strengthening of the friendship looks far too serendipitous to digest easily. Likewise, the event that leads to the final face off also looks a bit trivial; a matter of stretching a minor quarrel too far. Another major drawback of the film is the failure to build effective characters sketches of any of the protagonist. Even though the film shows the daily personal lives of both the friends, the sequences look disjointed, fragmented and ultimately have very little bearing on the friendship and ultimately the plot. Most of the parts where the script wanders out of the friendship track and into the personal lives of the protagonists can be considered as pretty inconsequential portions of the film. On the whole, it is a script that lacks cohesion that has spoilt the party for Vaada Poda Nanbargal.

The film does give the look and feel of one that has been brought out by a bunch of newcomers. They have tried hard, no doubt, but have failed to reach the professional level of film making. Almost all departments, camera, editing, re-recording, are a notch below what would be considered par in Kollywood at present. The fresh faces on screen too have not made a great impression, though one cannot fault the earnestness of their attempts. Music by debutante Siddharth also does not stand the movie in any great stead.

Vaada Poda Nanbargal is an account of two friends which fails due to a general lack of focus in the script.

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Nil Kavani Sellathey - Eerie entertainer

Cinemimi[Thursday December 23,2010]
Nil Kavani Sellathey Movie Review
Thrillers are not made very often in Tamil cinema. Producer-director Anand Chakravarathy (the man behind ‘Vennila Kabadi Kuzhu’) has taken the guts to do a movie on this genre.

It is no amateurish kind of a thriller, rather a series attempt to present a spine-chilling entertainer, that is interesting in most parts.

A group of friends on a trip to a secluded place missing one after other sets the premise for an interesting film. Though the knot is apparently from Hollywood, Anand (who plays the lead role too) has given the nativity feel and ensured with whatever facility available to him is utlisied well to do a convincing film.

Sam (Anand Chakaravarthy), Jo (Dhaniska), Arun (Ramssy), Priya (Lakshmi Nair) and Milo (Jagan) head to a small village on a pleasure trip. And they reach the place despite a warning that it is not to going to be a nice trip.

As night arrives, what arrives along with it is a series of mysterious experiences. The friends are attacked one after other by an unidentified villain. In the meantime, a police officer too arrives at the village to unravel the mystery.

What is the reason behind the attacks? Will they survive? All these things are made clear in the climax, which has so much twists and turns, with some being clichéd and some quiet interesting.

The movie impresses thanks to a strong technical backup. The sleek cinematography comes to its rescue. Also the lighting sets up the mood. The thrilling scenes where the lead cast run for their lives have been picturised well.

Selva Ganesh’s music is another major highlight. Movies on such genre get strength from background score. Understanding this, Selva Ganesh has lent able support to the director in setting the mood of the film.

Due credits should go to Anand Chakravarthy. He has succeeded in all this three avatars. The other lead players, including ‘Maanja Velu’ and ‘Peranmai’ fame Dhanshika, have presented an impressive performance.

Without any crass comedy, dumb dance by the lead pair or fisticuffs defying gravitational force, ‘Nil Gavani Sellathey’ is an honest attempt as a thriller. Watching it once in a theatre could encourage more such attempts.

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Manmadhan Ambu - Hitting bull's eye

Cinemimi[Thursday, December 23, 2010]
Manmadhan Ambu Movie Review
Doing a hilarious entertainer is no tough task for Kamal Haasan and K S Ravikumar duo. Their previous encounters (barring 'Dasvatharam') proved a point that they are masters in the trade. 'Manmadhan Ambu' is obviously a cakewalk for the two, who give one of the best entertainers for Tamil cinema.

Hold on. Who said comedy movies should not have a strong storyline? 'Manmadhan Ambu' does have strong script backed by a taut screenplay. Forget the likes of 'Thenali, Avvai Shanmugi' or 'Panchathanthiram', fasten your seat belts to laugh out loud with logical sequences, and 'Manmadhan Ambu' is right there to entertain you.

It has some entertaining elements, sentiments and emotions. Spying on one's beloved seems to be the crux. A possessive industrialist hiring a private detective to follow his ladylove, who is on a holiday abroad and the sequences aftermath the mission is what the movie is all about.

Lace it up with Kamal Haasan's perfection, Madhavan's buoyant performance as possessive lover, bubbly Trisha and Sangeetha, Ravikumar's directorial touches and Udhayanidhi Stalin's production values, the film no doubt impresses.

Unlike recent run-of-the-mill-stuff, the movie has signature Kamal Haasan style of sophistication from the word go. No flashy introduction, easy dialogue without punchlines and candy floss romance is what all the movie is.

If Kamal Haasan is the flesh and blood of the movie, Ravikumar injects life with his screenplay. He ensures that momentum is not lost anywhere (how when Kamal Haasan is at the scheme of things).

Devi Sri Prasad impresses with foot-taping peppy numbers. The combined effort of Manush Nandhan's camera capturing the huge cruiser and the landscapes of Paris, DSP's racy re-recording and the wizardry of Kamal Haasan and Ravikumar makes the movie count.

Madhanagopal (Madhavan), is the son of rich industrialist couple (Kitty and Usha Uthup). He is in love in Ambujakshi (Trisha), a popular actress. He happens to visit her at a shooting spot in Kodaikanal, where she shoots with actor Suriya.

Possessive by nature, Madhanagopal mistakes her when she speaks to Jyothika and Suriya's daughter over phone. Madhan and Ambujakshi pick up quarrel and eventually ends up in an argument.

Madhan, who had been to present a car to her as gift ends up travelling in the car with her arguing which meets with a freak mishap. Meanwhile there is one Deepa (Sangeetha), a divorcee with two children, who wants to live in her own way. She decides to spend her vacation abroad.

When Ambujakshi plans to go abroad for a break to spend her vacation, Madhan suspects her and hires the help of a private detective Mannar (Kamal Haasan). Mannar assures to do the task with a promise that Madhan sponsors for his friend Rajan's (Ramesh Aravind) medical expenses. He suffers from cancer.

Mannar sets out to Paris and later on a cruise where Ambujakshi and Deepa been to. Both Deepa and Ambujakshi become acquainted and spend time with gusto. Enters Mannar, who after following Ambujakshi closely finds out that she is a upright and a sincere girl, who thinks of no one but Madhan. When he informs this, a relieved Madhan backtracks from the promise he made to Mannar.

Hence Mannar hatches a conspiracy and comes out with a story saying that she is actually dating a man. An insecure Madhan now comes to Mannar again and urges him to stay there and follow her more closely.

Meanwhile, coming to know of Madhan's act, his parents go dissatisfied with him. Actually his mother wants him to marry one of their relative (played by Oviya of 'Kalavani' fame).

As it happens Mannar and Ambujakshi come to know each other. Mannar reveals that he was a commando in Indian army and that he was married to a French woman, whom he rescued from militants in Jammu Kashmir.

But Ambu is in for a shock when Mannar says she was killed in a recent mishap at Kodaikanal and that too when a luxury car knocked her down. All is now between Ambujakshi and Mannar. What happens from here on is narrated in an interesting manner. Did Madhan get Ambu or he repent for his act forms the climax.

Kamal Haasan is there right in every department. Be it the dialogues or the subtle silent expressions, he is breezy and entertaining. He is as solid as Sachin Tendulkar, fresh even after completing 50 centuries on the Test cricket ground. His one-liners and the agile stunt sequences are a delight for audience. Kamal has ensured that his fans are not disappointed all through.

Madhavan plays a bubbly romantic youth. The complex character of an over-possessive lover is handled well by him. Trisha is not far behind. She matches Kamal Haasan in every scene with her performance. Especially her subtle emotions, cherubic dance deserve a special mention.

Sangeetha is apt for the role. She casually dons it and gives one of her best. Also the likes of Ramesh Aravind Urvashi as Ramesh Aravind's wife Mallika, Kitty and Usha Uthup among others impresses. Malayalam stars Manju Pillai and Kunjan, who play producers running behind Trisha for dates, strike with their comical performance.

Shooting in a star cruiser and a majority of film in a foreign land has been made possible by Udhaynidhi Stalin. Having made a name for himself producing and distributing quality fare, he ensures 'Manmadhan Ambu' tops the list.

If the first half settles down to a pace, the second half takes off in a bigger way sustaining the momentum all through.

Three cheers to Kamal Haasan, a man who has entertained us for over 50 years, for continuing his job with same energy, enthusiasm and vigour. 'Manmadhan Ambu' may not be a 'Panchathanthiram' or 'Dasavatharam', but a perfect holiday entertainer with Kamal stamp all over it.

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Sanikelamai Sayaungalam 5 Mani ,Review

[Friday, December 10, 2010]
Movie
Sanikelamai Sayaungalam 5 Mani
Director
Ravi Bharathi
Cast
Malini, Sarath
Movie Review
Sanikkilamai Sayangalam 5 Mani’s claim to fame is that it is the first film that has been shot using the HDSLR technology. We’ve had films in which cinematographers used digital cameras, but here still cameras have been used.
Debutant director Ravi Bharathi has tried to make a village-based crime thriller, which begins on a Saturday evening at 5 p.m. and ends at the same time, on the same day, in the following week.

The film starts with the heroine, Maha (Malini), in wedding attire boarding a bus from Kodaikanal to Vethalagundu. She’s on her way to meet her boyfriend Sakthi (Sarath) and do a quick registered marriage.

There is pressure at home over a marriage proposal that she is not keen on. She is constantly on the phone with Sakthi during the journey, but her phone suddenly goes dead and she vanishes into thin air.

Maha’s uncle, a cop, starts a missing person hunt, and Sakthi is the prime suspect. However, when he is questioned, the cop realises Sakthi is innocent and lets him go on bail.

Now Sakthi and his friends start their own investigation by piecing together the evidence they get.

Sanikkilamai Sayangalam 5 Mani follows the pattern set by Samuthirakanni’s Nadodigal - of friends coming to hero’s rescue in his troubled times. The hero’s doggedness and friends’ support is what unravels the mystery of the missing heroine.

The trouble with the suspense laden plot is that it is slow and songs in flashback comes as a speed breaker. The story and screenplay lacks logic and just drags on to a predictable climax.

The first 15 minutes of the film moves at a brisk pace before things start slowing down. There are also a lot of similarities with some of the recent crop of films.

The newcomers in the film are a major drawback, as they cannot emote. Music is jarring. The only silver lining is the HDSLR camera work.

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Virudhagiri - A familiar cop story

[Monday, December 06, 2010]
‘Virudhagiri’ is the maiden directorial venture of Captain Vijayakanth and his 153rd film as an actor. Vijayakanth after plunging in active politics has had only a single release per year in the past few years.

‘Virudhagiri’ was launched on November 23, 2009 and has been in the making for almost a year. It is a super cop story which is a very familiar terrain for Vijayakanth. In fact he is one of the few actors who is liked for playing cop roles.

Now that he is also big political leader the film will have a heavy dose of political punch dialogues. The Captain has written the story and screenplay as well apart from directing.

The movie's title is inspired by the presiding deity Virudhagireeswarar at Vriddhachalam, the Assembly constituency Vijayakanth represents. But the movie is said to be a greatly localized version of the Liam Neeson starrer film ‘Taken’. It is also rumored to have traces of the French film ‘Wasabi’ which was an inspiration to Sarath Kumar’s ’Jaggubai’.

‘Virudhagiri’ was shot extensively at Malaysia, Hong Kong, Bangkok and neighboring countries. In fact the Captain says only 25% of the film was shot in India and all the rest were in exotic foreign locations.

Madhuri Idaki, a Bangalore model is the heroine. Meenakshi Dikshit is another glam quotient. Shankar from Mumbai is the villain. Arun Pandian, Mansoor Ali Khan, Peeli Sivam, Kalai Rani, Uma Padmanabhan, Shanmugarajan and comedy actor Shams are other important actors in the film.

Produced by by LK Sudeesh for Captain Cine Creations, that produced films like Narasimha, Sudesi, Vallarasu, Thennavan and Arasangam before. The movie has music by Sundar C Babu, dialogues by Velumani and cinematography by SK Boopathy.

The audio of 'Virudhagiri' was launched in a glittering function at Chennai Trade Centre on November 22. The audio launch function was graced by Cheran, Hansraj Saxena, Lingusamy, Mansoor Ali Khan, Snehan, Monica, Sathyaraj, SV Shekar and Vijayakanth's political party members. The movie has 5 songs including a propaganda song sung by SP Balasubramaniam which goes like ‘Yezhaigal Thozha Vaa Vaa…’

‘Virudhagiri’ has been given a 'UA' certificate by the Regional Censor Board in Chennai. The film is hitting the theatres on December 10, 2010 all over the world.

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Tha Movie Review

Tha - Give, forgive
[Saturday, December 04, 2010]

Perhaps inspired by the success of Sasikumar, Samuthirakani, Pandiraj and Sarkunam likes, a bevy of filmmakers are entering Kollywood with realistic stories set in rural milieu. R K Surya Prabhakar is one more in the list.

In ‘Tha’, the director who once assisted Samuthirakani has presented the tale of a group of friends with the main focus on the role played by debutant Sri Hari.

And it’s not just Sri Hari the fresher, but everyone from the producer to the heroine to the music composer.

Surya (Sri Hari) is a good-hearted tough guy who spends time with his set of friends at a village near Coimbatore.




He hates love till he gets a piece of advice from the sister of his friend, for assaulting her boyfriend.

This incident changes Surya’s attitude towards women and his parents start the bride hunting. They finalise Jothi (Nisha), a family friend’s daughter.

Both slowly start loving each other and everything goes well till Surya develops suspicion on Jothi for silly reasons. When he realises that the fault is on his part, everyone is ready to forgive him. But he decides otherwise. And what follows is an unexpected climax.

Sri Hari as Surya are apt in the roles of a rustic youth. Though Nisha is beautiful, she looks little alien to the character she has played.

New guys (Benito, Madhan, Shanmugam, Vettrivel and Govindan) as Sr Hari’s friends are apt. Subramani and Vasanthi, who play the protagonist’s parents, make the film work better.

Music by Sri Vijay reminds Ilayaraja. V S Devaraj’s camera work is good. With linear narrative in flashback, the film has some patience-testing scenes and abruptly-ending sequences. But you can’t avoid the feeling of having read a good short story while coming out of the theatre

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Mandhira Punnahai Movie Review

Mandhira Punnahai - Simulated smile
[Saturday, December 04, 2010]

Director Karu Palaniappan is known for coming out with movies woven around human relationships. Obviously in ‘Mandhira Punnahai’, which is directed and enacted by him, he dwells on his favourite subject. Unfortunately, perhaps shouldering a double burden has taken a toll on the film.

The latest to join the bandwagon of filmmakers donning the grease paint, Karu Palaniappan has chosen a script that doesn’t demand macho-man stuff or any heroics, a safe bet for his first venture as protagonist.
He has Meenakshi, who did some glamour roles recently, to play the female lead. Santhanam provides the comic relief, while Thambi Ramiah and Rishi do form part of the cast. But all these things, which put together as a film, fail to do any magic.

Though Karu has relied upon the script, yet the pace at which the movie progresses is its weak link. The story settles down only after a while and the dragging second half does no good.

Kadir (Karu Palaniappan) is a shrewd architect. But he has no principles in life and leads it in his own way. Hated by one and all for his way of living life how it should not be, everyone fears to come close to him.

Enters Nandhini (Meenakshi) who works in a car showroom. Kadir does the architectural plan for the showroom and both meet in the process. Impressed by Kadir, she falls for him. Kadir sees his mother’s mannerisms in her in certain situations and love blossoms.


But a twist and turn in the script takes the story to a new place. What transpired between the two is the climax.

Karu Palaniappan has tried his best to live up to the role. Unfortunately he misses out on his body language. The much needed pep is missing in his role. It is refreshing to see Meenakshi donning a different character. She has a major say in the script, which she seems to have utilised well. Santhanam’s comedy sounds clichéd at many places.

Vidyasagar's music and Baskar Sakthi's dialogues are the USPs of the film. Both are good but a weak execution takes away the sheen. Ramnath Shetty camera captures Chennai well.

Too many loose-ends and a dragging second add no value to the movie. Produced by Indira Films, ‘Mandhira Punnahai’ is a movie which carried a lot of hype and expectations but fizzles out to be an ordinary fare.

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Chikku Bhukku Movie Review

[Thursday, December 02, 2010]
Banner: Media One Global Entertainment, Majestic Multimedia Ltd
Production: Sunandha Murali Manohar
Direction: Manikandan
Star-casts: Arya, Shriya Charan, Preethika, Santhanam, Anup Kumar and others
Music: Hariharan-Leslie
Background: Praveen Mani
Cinematography: R.B. Gurudev
Editing: V.T. Vijayan
Costumes: V. Sai, Deepali Noor
Art: Milan

Late Director Jeeva was often influenced by Hindi style movies and implemented the pattern in Kollywood. His assistants weren’t an exception as they too continued making similar movies and now director Manikandan joins the bandwagon. The filmmaker makes his debut with ‘Chikku Bhukku’, the so-called romantic travelogue. The time frame set in two different time periods. It was the same way as in Bollywood movie ‘Love Aaj Kal’, in which the love of two different generations was shown with a deep impact.

But unlike that one, ‘Chikku Bhukku’ lacks every element that is necessary for a romantic movie. Both the love stories of two different ages don’t seem to have the intensity. Especially the flashback sequence is not convincing at all.

The film opens in 1985 where Sekar (Arya) writing a diary about his memories of love. In 2010, Arjun (again played by Arya) is found enjoying his time in London as a successful DJ. He leaves to Tamil Nadu for settling the disputes of his ancestral property. From the same place Anu (Shriya Charan) too starts her flight as her father is not well in Madurai. Both of them happens to travel together from Bangalore as the flight they were supposed to reach them in Madurai has been cancelled. As the journey begins, Arjun goes through the diary written by his father Sekar. The love story at two different eras and generations are shown with a small twist in climax.

Arya has improved in his own terms of dancing and performance. Shriya Charan looks stylish in her looks and has done some good job. Arya as Sekar is fit for the police role, but emotes less to the situations. Preethika is too glamorous. Santhanam’s comedy tracks are enjoyable.

Manikandan attempts for something new and fresh different from routine love stories, but the screenplay is weak in places.

Hariharan and Leslie’s musical score is excellent. The songs are nice and soothing. Cinematograph is splendid and the locations are visual treat.

If the screenplay was crafted yet more interesting, the film would have been yet more finer.

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Magizhchi Review

[Thursday, December 02, 2010]
Not many novels were made as films in these parts. And even if made, they faced the allegations of spoiling the beauty of the original story. But Magizhchi by Adhirvu Thirai Pattarai could be a beautiful exception to this popular theory.

Directed by Gowthaman, who has also played the role, the film is inspired by Thalaimuraigal by Neela Padmanabhan, which is considered as one of the top ten best works of modern Tamil literature.

Without attempting to tell the story, the film travels as a beautiful portrayal of characters. Of course the narration is slow at places, but you would soon lose yourself to the warmth of the people you see on screen.

The film is about Thiravi (Gowthaman), for whom his sister (Karthika) is the apple of his eye. Living in a happy family, Thiravi is also in love with Kuzhali (Anjali). When things go well, Thiravi’s sister marries Sevatha Perumal (Sampath Raj).

Within few months of the marriage, Sevatha Perumal sends back his wife to her maternal home. A shocked Thiravi tries hard to buy peace with his brother-in-law, with the help of his friend (Seeman).

Gowthaman is the recent addition to the list of directors who have started donning the greasepaint. Reminding Cheran in some scenes, he delivers a good performance. Anjali is good looking and glamorous too. Seeman, Prakashraj and Karthika add value to their roles.

Music by Vidyasagar is a major strength to the movie. It helps a lot in taking the film to the hearts of the audience. An honest attempt by Gowthaman, Magizhchi is like a whiff of fresh air in Tamil cinema.

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Nandalala Review

[Thursday, December 02, 2010]
What a film and what a director! Mysskin has taken Tamil cinema to dazzling heights with Nandhalala, a movie that can be compared with any internationally acclaimed or award winning film.

Proving himself a pundit with the language of cinema, Mysskin also leaves his stamp as an actor, by playing a mentally-challenged person. The movie may have shades of Kikujiro. But this one allegation just can’t stop Nandhalala from winning appreciations and accolades.

Baskar Mani (Mysskin), a differently abled youngster, leaves an asylum to meet his mother who abandoned him long back. In his journey, he meets Aggi (Ashwath Ram), a school boy who too is in search of his mother.

As the two pass through places, they meet different people and a sex worker (Snigdha) is one among them. They undergo myriad experiences and were they able to see their respective mothers is the climax.

Mysskin comes out with a riveting performance. He is just apt to the role. The young boy Ashwath Ram shows his skills like a seasoned actor. Snigdha springs a pleasant shock with a surprising character.

Illayaraja’s music is the life of Nandhalala. The maestro brings the movie very close to the viewer’s heart with his magic. Mahesh Muthuswamy’s cinematography is a big asset. His lens had captured each and every scene well.

Producers Ayngaran International walks away with honours for coming forward to produce such a film. Equally laudable is Mysskin for making a daring attempt. Bit slow in places, Nandhalala is a real film that speaks a lot about reality.

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Kanimozhi Review

[Thursday, December 02, 2010]
Kanimozhi is no doubt a relief from regular films which are clichéd and commercialized. But at the same time, the movie hardly has any entertainment value, thereby giving uneasiness to the audience while watching it.

The film, directed by debutant Sripathy Rangasamy and produced by T Siva of Amma Creations and Sona Heyden, tries to strike a fine balance between dream and reality. And it succeeds in the attempt to an extent, so to say.

Rajesh (Jai) is the apple of the eye of his mother and friends. As you would expect, he falls in love with a beautiful girl (Shazahn Padamsee) but fears to express his heart to her. And he has the habit of writing everything in a dairy.

In the meantime, another youngster (Vijay Vasanth) too falls for the same girl. But he has the guts to propose his love to her. Who manages to hold the hands of their sweet heart is the climax, which comes with a twist.

Jai tries to shine in a wafer-thin script. Shazhan Padamsee is a welcome addition to the list of heroines from the north. Vijay Vasanth emotes well and proves himself once again. Other actors too fit well to their respective roles.

Sathish Chakravarthy’s music is good but songs come as speed breakers. Watch out for a cameo by Subramaniapuram fame Swathy. A very good knot, but an uninspiring treatment takes away all the sheen.

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