Enakkul Oruvan

Enakkul Oruvan

A sophisticated plot inspired or borrowed from Tom Cruise’s Vennila Sky (2001), though not completely, but with some percentage. Enakkul Oruvan, a remake of Kannada hit flick ‘Lucia’ had the best appraisals across the globe and the Bollywood went gaga as the producers clasped the remake rights for a whopping price. It was so much exciting to see the remake happening here in Kodambakkam. Let’s see what really impresses us and what disappoints with SiddarthDeepa Sannidhi starrer ‘Enakkul Oruvan’

The film speaks about the swapping mode of a youngster from dream-real-dream world due to his insomniac problems. One happens to be an uneducated unsuccessful underdog boy working as a theatre operator and other one, a filthy rich actor on top of charts. The characters in real and dream world persist to be the same and before you conclude your assumptions, an unexpected twist of surprise happens in the end.

A simple plot, well recognized and acclaimed in Kannada industry with not-so famous actors in the cast and a complete new attempt, where public funded this project. Before starting off with the analysis, we would like extend our appreciations to filmmaker Pawan Kumar, who wrote script and screenplay for the original version as well. Over here, Prasad Ramar credited with additional screenplay along with director has made some modifications that reluctantly favour and at times turn out to be a disappointment.

The first and foremost problem with ‘Enakkul Oruvan’ in blunt terms would be a dissatisfying characterization of lead actors, especially Siddarth. The performance level of Siddarth remains so vague and stubborn. The theatre boy role has to be more sympathetic, but Sid exhibits a slight arrogance into it. Deepa Sannidhi although does her best in performance, her role could have been very well etched. The innocence, love and spirit of emotions is blindly lacking, which doesn’t help us connect with the film. Aadukalam Narain is the only convincing factor in star-cast and rest are just okay.

Technically, the black and white-colour portions irk us after a certain point of time. The makers have directly hired the original version elements to Tamil version. They should have clearly been cognizant of what Tamil film audiences are capable and what they would reject. This turns out to be yet another disappointing element in the film. Although, the justification has been done towards the end, there is nothing more progressive about it.

The songs by Santosh Narayanan are good and the background score is appreciable with the cinematography by Gopi with top-notch effects.

On the whole, Enakkul Oruvan – if there could be one person who deserves the best appraisals, it’s Pawan Kumar, the writer and director of original version while with performance, its the supporting ones that carries the film on its shoulders. The climax portion of truth revealed, the secret interview and few elements of emotions tries to rub off the boring elements in the 2 hours of flick, but it doesn’t achieve the best results of what it is capable of.

Verdict: Excellent plot letdown by performance and snail-paced narration.

 

Komban

Komban

GV Prakash commenced his musical journey with a folk based musical genre in ‘Veyil’ following which after many years; he returned back experimenting with it again in National award winning film ‘Aadukalam’. Teaming up with Karthi for the third time, he has now tried something completely folk in ‘Komban’. The album has five songs and we bring you the exclusive music review of this Komban-Lakshmi Menon starrer directed by Muthaiah and produced by Studio Green K.E. Gnanavel Raja.

 

Kambikara Vetti

V.M. Mahalingam and Ananthu

It’s a festival song in the rural backdrops and there is a plethora of dance and celebration in it What turns more impressive about the song is the rendition panache of V.M. Mahalingam and Ananthu for they consistently deliver the lines with more energy. There are lots of dance sequences in this track and will be surely enjoyed by the rural audiences.

 

 Appappa

 GV Prakash and Shreya Ghoshal

Shreya Ghoshal remains too synonymous for her sweet melodic voice and this song carries her best persona in usual paradigms. GV Prakash has his portions embellished in the midst of hers cherubic delivery. The song speaks about the erotic and loveable chemistry between a newlywed couple in the native lands with more poignance.

 

Karuppu Nerathazhagi

Vel Murugan and Maalavika Sundar

The song captivates your memories for the first time you hear it and you will not stop listening to this track. A special surprise from GV Prakash who hasn’t delivered a single Chartbuster in the recent times and this one is a fabulous one. Laced with best music, lyrics and wonderful rendition by Vel Murugan and Maalavika Sundar, the track is sure to top the charts in a short span of time.

 

Mella Velanjadhu

Madhu Balakrishnan

The song takes the emotional route and offers a touching impact to the listeners’ heart. Moreover, the inclusion of a singer like Madhu Balakrishnan adds additional emotions through his style of vocalisation and the montage visuals should bring forth more essence into it.

 

 A Celebration (Komban Theme)

This would let the frontbenchers in the theatres, especially the ones across the suburban and rural areas to have their blast with the dance and musical trumpets in the style of their nativity.

On the whole, ‘Komban’ has a touch of complete folk genre, which keeps us enchanted in many places. Appappa and Karuppu Nerathazhagi happen to be the instant hits and rest of the numbers would surely catch up our attention brewing up with the visuals.

 

Verdict: Moderately better than GV’s previous albums.

Uttama Villain

Uttama Villain

When viewing a Kamal Haasan or just listening to his songs, we tend to experience and learn lots of new things. Well, with Uttama Villain, scenarios are same and splendid. The album might not be a Chartbuster with commercial or melodious hits, but has something fresh and different that Tamil cinema hasn’t witnessed before. We bring you exclusive music review on Uttama Villain and have a glimpse of our vivid analysis here.

Love’aa Love’aa

Vocals: Kamal Haasan, Sharanya Gopinath, Anitha, Nivas

Lyrics: Viveka

Kamal Haasan fans usually don’t expect such tracks from this genius actor who always tries to explore something different in his albums and lets us experience the same. But sometimes with the commercial aspects in mind, he would have a Kuthu number as with ‘Suriya-Trisha’ track in Manmadhan Ambu. Similarly this track looks like nowhere close to the film, but has been compulsively added up and the rendition of singers including Kamal Haasan remains obscure. But somewhere, it would easily grab the attention in theatres for the dance steps that he is trying up in one of the interludes.

 

Kaadhalam Kadavul Mun

Vocals: Padmalatha

Lyrics: Kamal Haasan

Before you stop thinking why Kamal Haasan had to come up with commercial panoramas, you have the musical wizardry taking us into his world of interesting elements and thanks to Ghibran for conceiving the best elements that Kamal Haasan had envisaged. The elegant vocalism by Padmalatha is colossal throughout the song and the usage of instrumentals, especially harp makes it more appealing. The choreography on Pooja Kumar would be another highlighting attribute in this song.

 

Uttaman Introduction (Villuppattu)

Vocals: Subbu Arumugam, Kamal Haasan

Lyrics: Subbu Arumugam

 Usually, this genre of music gains its prominence over the time when watched the screens. The situations were similar to Anbe Sivam as most of the songs had such aspects. Villu Paattu here refers to the play that involves the introduction of Uttaman. The intonating style by Subbu Arumugam is more prodigious in places and Kamal Haasan has his own domination in his parts with a greater magnitude.

 

Saagavaram

Vocals: Kamal Haasan

Additional vocals: Yazin Nizar, Ranjith Iyappan and Ghibran

Lyrics: Kamal Haasan

Music directors composing for Kamal Haasan always have a problem, although they get to explore the best levels of music. Yes, with his rendition in voices, the instrumental parts go diminished even when scored with the best attempts. But Ghibran manages to steal the show during the interludes and preludes with soft instruments. Of course, the additional voices have the best spell made it prevalent throughout the sequences they get. If you’re looking up why there isn’t anything mentioned about Kamal Haasan, it is obvious that his presence is more than enough than what he is crooning.

 

Iraniyan Naadagam

Vocals: Kamal Haasan, Rukmini Ashok Kumar

Performed by Sofia Symphony Orchestra

Lyrics: Kamal Haasan

A major portion of this album is dominated by play based tracks and this cannot be defined and reviewed. It is based on the play and could be done with the visuals. But again, the Kamal Haasan magic is very much adherent to the theme of this film. The orchestral troupe and the instrumentalists establish their crème de la crème works here to a brilliant extent.

 

Mutharasan Kadhai

Performed by Sofia Symphony

Narrated by Kamal Haasan

Vocals: Yazin Nizar, Ranjith, Iyappan , Padmalatha

Lyrics: Kamal Haasan

 The highlighting trait about this track is the musical components including the vocalists taking the song across different levels of emotions touching various scales and octaves. Although, we could see the main essence through the visuals, the song will touch different levels post-the release.

 

Uttaman Kadhai

Performed by Sofia Symphony Orchestra

Narrated by Kamal Haasan

Vocals: MS Bhaskar, Yazin Nizar, Ranjith, Iyappan

Lyrics: Kamal Haasan

 It’s been a very long time, we had seen a ballad based song and Kamal Haasan-Ghibran combination brings forth an extraordinary work along with the Sofia Symphony Orchestra fervently with the narration of the genius Kamal. The vocals by MS Bhaskar, Yazin Nizar, Ranjith and Iyappan are uniquely encompassing the track.

 

Uttama Villain Theme music

We are quite familiar with this track ever since the first look was unveiled and now when we get to hear the complete track, it adds more sensational essence to our senses. As soon as the Kamal Haasan fans hear this number, they would go high on invigorations in theatres and this doubtless verdict.

 

 INSTRUMENTAL VERSIONS

There is something more specific about this bunch of tracks. Usually, the makers don’t present the signature background music of all situations along with the full album, but Sony Music has tried something different and has now bestowed the listeners with it. So before you watch the film, when hearing these tracks along with the prominence of title, you would precisely get involved with the characters and situations while viewing them on the screens.

Guru  & Shishya  

Father    & Daughter  

Uttaman & Karpagavalli  

Father & son  

Letter from and to Yamini  

Dr. Aparna  

Following these instrumental tracks, the album ends with the three karaoke versions that include Kadhalam Kadavul Mun, Saagavaram and Iraniyan Naadagam.

To wind up with the final verdict, Kamal Haasan works are always beyond the criticisms and he always let us experience something different new as mentioned by the opening portions of this review. The musical journey of Ghibran hits the milestone and the life changes for him from here.

 

Verdict: Remarkably brilliant and explorations of new genre impress us.

Kaaki Sattai

Kaaki Sattai

Kaaki Sattai is an Tamil Movie Featuring SivaKarthikeyan, Sridivya, Prabhu, Manobala. Kaaki Sattai is directed by R.S.Durai Senthil Kumar and Produced by Actor Dhanush‘s Wunderbar Films

Cops have fought against terrorisms, drug peddlers, serial killers, rapists et al and now it’s a new pattern of illegal organ trafficking. Not long back in time, we had Gautham Vasudev Menon’s Yennai Arindhaal starring Ajith Kumar and Arun Vijay in lead roles dealing with same issues, but in limited episodes, but Durai Senthil Kumar focalises the complete plot with this backdrop. Let’s not get into the stuffs of who made first? Who wrote first? End of the day, it’s how engaging the film has been delivered.

Underestimations have become a normalcy in the life of a police constable Mathimaaran (Sivakarthikeyan). He often envisages of his very own persona as a cop officer shattering down the baddies, but in reality does nothing. When his senior officer (Prabhu) urges him the need to bring an appalling case that would change the history, Mathimaaran comes across one such gruesome activities of bigwigs who are involved in the illegal trafficking of organs from North Indian labours who get employed through agencies for blue collar jobs.

In spite of a usual story based on cop locking horns with anti-socialites isn’t something new, but it’s obviously the screenplay that should or supposed to keep the audiences engaged. Durai Senthil Kumar adds some interesting elements of commercial panoramas that easily gains our favour during the first half. There is a plethora of humour, witty lines in the usual panache of Sivakarthikeyan and his sidekicks offering the best to tickle up funny bones. But somewhere in the middle, we tend to feel what the story is. Although, few characterizations are established in the very beginning of the drama, it takes nearly a hour to bring open the conflicts. We tend to believe that there’s going to be more raciness in the second hour and of course, it has to. It travels with some enhancement, but the power that it should carry goes slightly missing. There are some distractions via Manobala, who is completely unnecessary for the situation. Durai Senthil Kumar seems to be self-confused on how to take forward the story. Should it be humorous or serious? This completely ruins the plot and treatment. Almost all the brilliant acts of the protagonist against the baddies seem outdated. We have seen many mass heroes adapting the similar techniques and this seems to be little vague. And we find the logic easily missed out in many places that make things fallible. If these things were neatly noticed and sorted out on the script papers, Kaaki Sattai would have been more appealing in many places.

The appreciable part on the technical front is Anirudh’s fabulous background score and songs that brings up more enhancements to the visual elements. Cinematography is good and appreciable.

Sivakarthikeyan matures to the next level of performance. Might be, it’s just a normal entertainer, which might not bring such offbeat acting, but he has breathed more life and soul into the role he has performed. Be it the hilarious scenes or the emotional ones, he brings out the best from him. Even his dancing skills are improvised and his action scenes are groovy. Sri Divya looks beautiful and her role seems to be travelling throughout the film, but it could have be at its best. Vijay Raaz as the baddie is cool, smart and villainous with his performance. With more dialogues rendered in English, he does it with more casualness. Yog Japee has his role short and crisp. Nagi Needu is convincing. Imman Annachi is funny throughout the drama.

Had the screenplay was sharpened with more raciness in the second half and few old-pattern scenes were avoided, Kaaki Sattai would be a real great film to watch for. As of now, it’s a commercial entertainer that you can watch up for time-pass.

 

Verdict: A cop’s rage for justice.

 

Tamizhukku En Ondrai Azhuthavum

Tamizhukku En Ondrai Azhuthavum

A thriller comes with character succumbing to baffled situations and finally a sigh of relief to walk out of theatres. Undoubtedly, unavoidable formulae that have been passed through the continental films except few exceptions like Zero Dark Thirty et al… But ‘Tamizhukku En Ondrai Azhuthavum’ belongs to a much commercial genre, say for instance, the one on the lines of ‘Cellular’ that was later remade in several Indian versions. This is a film, where you might find the logic missing in few places and yet cannot feel it to be a hurdle. Of course, a film like ‘Cellular’, where an ordinary science teacher (Kim Basinger) looks red hot in black attires with a Porsche car parked outside her bungalow. Ah! The logic strikes aren’t and yet there wasn’t a single question about it. Apparently, TEOA is a time pass flick with some thrilling moments that is based on a different concept that wasn’t explored before.

The film traverses through the day of four unusual characters – a flat promoter (Attakathi Dinesh), an unemployed scientist (Nakul), A call taxi driver (Ethir Neechal Sathish) and a terrorist ready to execute bombing in Chennai (Thuppaki fame Asif). A solar flare created through the sun radiations creates a havoc in mobile network shutting it down for some time. With the young lovers separated, the scientist trying to find solution, a call taxi driver unknowingly carrying the bomb and a terrorist waiting for the signal to click for the bombs to be operated through mobile phones. So many confrontations with situations and unfolds next is quite thrilling one.

To start off, the film has its own treatment of keeping the audiences engaged, but it doesn’t happen at completeness. The first half is filled with unwanted drama that really sends you into the zone of boredom. You don’t tend to get connected with the film. It’s almost an hour for the actual story to commence and you turn restless by then. Thanks to director Ramprakash’s creative stuffs of employing something more with the scientific terms and methods by Nakul. What makes us so excited is the petty thief who accompanies the terrorist to bomb. He turns to be the actual hero in the final sequence, while others have nothing to do with it. In fact, the lead characters – Attakathi Dinesh and Nakul are unaware about the bombing plans. The director should have tried adding them to this conflict, which would have made it more appealing.

Technically, it’s cinematography by Deepak Kumar Padhy that becomes a major highlight as we see Chennai in a different light. The top angle views, though some of them are shot by helicam, they have the best visuals. It’s been a long time, Thaman had come up with a splendiferous background score and just a couple of songs make the screenplay engaging in places. The characterizations like Manobala, the cell company owner, Oorvasi, Tea shop owner and a media person simply filling frame could have been avoided. In the name of humour, they keep irking us.

But overall, Tamizhukku En Ondrai Azhuthavum is a refreshing experience at end, although, there are some unwanted inclusions like too-much of talkative character and director wasting time to establish the actual plot.

Verdict: Different concept and moderate execution.

 

Anegan

Anegan

Cast: Dhanush, Amyra Dastur, Aishwarya Devan, Karthik, Ashish Vidyarthi, Atul Kulkarni, Mukesh Tiwari and Thalaivasal Vijay
Director : K.V. Anand
Producer : Kalpathi S Aghoram, Kalpathi S Suresh, Kalpathi S Ganesh
Music Director : Harris Jayaraj

What happens when the characters producing video games are imbibed to fantasies? KV Anand’s knack to blend his commercial entertainers with socially disturbing themes has won him good appreciations. Sometimes, themes sound good, but what if the content fails to impress you. Traversing through the fantasies and realities, Anegan brings a story of romantic couple (Dhanush & Amyra Dastur) whose lives have tragically ended in different eras. Will their present lives have the game of fate disappointed with a happy ending?

If you’re assuming this film to be a hackneyed story of reincarnation where the alienated couple in previous avatar has their chance to reunite, then you’re somewhere right, but not exactly. KV Anand along with his writers Subha seems to have picked up a theme that is so intriguing, where the high professionals of white collar status are treated as ‘Frog trapped in cold water and then heated up’ mode. That’s a perfect sense of intelligence, we must really appreciate. The characterization he has sketched the right casting deserves the perfect doze of appreciations. Dhanush as Murugappa, Kaali and Ashwin (the role of king is really vague in its characterization as such happens in a dream song sequence) expresses the best emotions of his love. His role as Murugappa, a Tamil guy in Burmese colony (1962) utters innocence and as Kaali, he leaves the theatres studded with applause. His performance is so much spontaneous in this segment indeed. Well, his portions involving Ashwin aren’t completely stunning as KV Anand could have enhanced it in a better way. Amyra Dastur is best on her part and her screen presence is so natural. She adapts herself easily to all the three roles (again, the fourth one doesn’t need delineation as it’s all about a dream song sequence). Navarasa Nayagan Karthik is cool and he overshadows even the lead actors in many places, however KV could have looked out for some other actor for the younger version of Karthik in flashback sequences. Aashish Vidyarthi is perfect. Mukesh Tiwari in a role of suspense till the end is appreciable.

Danga Maari’, this single track was more than enough to draw more crowds to the theatres and of course, there is an irresistible celebration in theatres with this song. Unfortunately, not all the songs have those moments neither melodiously captivating. Cinematography by Om Prakash offers some enriching visuals.

To balance the plus and minus of this film accordingly, ‘Anegan’ has the brilliant flashes as such of different and unique concept, well-played actors and cinematography. On the flip side, a screenplay laced with boring moments, a flimsy story-telling loaded with amateurish logic’s (Don’t miss the final act of climax and you’ll surely accept our verdict) make ‘Anegan’, a too ordinary film.

Verdict: Good performance and brilliant theme spoiled by fallible writing.

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