தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Cast and Crew

Lakshmi Priya
Director : J Vadivel
Producer : Anand Ponniraivan
Cinematography : Sreerama Santhosh
Music Director : K

Movie Review

A consubstantial story of perception had prevailed in film industry over the years. When a filmmaker makes a movie based on the travails and issues involved in the process of film making or throws lights upon ‘Kanavu Thozhir Chaalai’, it would be a might win or sure lose situation. In fact, even from the times of Bharathiraja and Balu Mahendra, there were have been certain films based on this topic and to a certain extent, they were decorously appreciated, but wasn’t commercially successful. The changing moments happened in Kollywood and subsequently films like Kathai Thiraikathai Vasanam Iyakkam and Jigarthanda could add up some refreshing brew to them. Kallappadam that comes from newcomer J Vadivelu, who earlier worked as protégé to Mysskin in many movie has such illustrations of suffering technicians aspiring for success, who face critical situations and how the tale takes a twist in turn.

Revealing the plot of Kallppadam would actually kill the excitements and we prefer just giving the outline. It’s about bunch of wannabe winners of film industry trying to make their maiden debut (these roles are played the real life technicians themselves like filmmaker Vadivelu, music director K, cinematographer and editor). They face failures and when on giving the best try and things take a turn when they have producer their way (played by Aadukalam Narain).

The initial phase of this film could be slightly a dull-up though we are directly introduced to the plot. We tend to get it closely linked with some similar movies like Azhagiya Theeye and Kathai Thiraikathai Vasanam Iyakkam, but director Vadivelu and his team of writers gladly surprise us with some new-dimensional narrative and the course of story changes instantly. The second hour would have you indulged in some laughter and appreciable twists with unpredictable climax.

It is really nice to see veteran comedian Senthil to make his comeback after a long time. Though his role is minimal, he gets the best scope and Aadukalam Narain makes an immensely colossal performance. Lakshmi Priya has taken sleepwalk through the role of what is required from her. Leena wins our appreciations with naturalistic performance.

Musically, K has offered some nuances in spell, but it could have been better. Background score is best in few places. Cinematography is convincingly top-notch and editing turns out to be a major disappointment with jarring cuts.

Overall, Kallappadam offers some refreshing experience with fun and twists with good characterizations. There aren’t much speak about the minuses and it’s a good attempt overall.

Verdict: Watch it once.

Romeo Juliet

Romeo Juliet

தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Looking back into the previous few albums of Jayam Ravi, the actor really hadn’t tasted a musical success and most of them were just mediocre. It looks like after his maiden debut ‘Jayam’ and ‘Engeyum Kadhal’ the actor is gaining some good numbers in the musical quotient with his recent release ‘Romeo Juliet’ composed by D Imman. The film is directed by newcomer Lakshman and is produced by Nandagopal of Madras Enterprises. Hansika Motwani had struck a sizzling onscreen chemistry with Jayam Ravi in ‘Engeyum Kadhal’ is back with Romeo Juliet, which is getting ready for summer release.



Singer: Anirudh Ravichander

Lyrics: G. Rokesh

Obviously, the song had put everyone in trance moment for everyone from the time of its single track release. Dedicated completely to the evergreen entertainer T Rajendran, the song has lots of enjoyable moments and Anirudh makes it more engrossing with his usual slang of rendition. The original dialogues of TR compiled from various events and the lyrical lines by ‘Danga Maari’ fame Rokesh add more essence of celebration to this song.



Singer: Anthony Dasan

Lyrics: Madhan Karky

A love failure anthem and there’s a lot of this genre, we have been heeding over the years. Anthony Dasan has been taking us by delight with his unparalleled gift of voice that flows without any interruption and this song ‘Arakki’  gets a good touch in the usual composing style of D Imman. Madhan Karky usually tries something more unique in his lyrical lines, but this one is just mediocre.



Singers: Vishal Dadlani, Sunitha Sarathy

Lyrics: Thamarai

The instant hit of this album that keeps ringing out in your senses over and again. Perhaps, Vishal Dadlani who has been giving us with some pleasant hit numbers could have had a better replacement here. If someone else like Karthik or Sriram Sid had crooned this track, it would have been more enhancing. Nevertheless, the female version completed rendered by Sunitha Sarathy evokes the right kind of feeling with soulful impact.


Idharkuthane Aasaipattai

Singer: Vaikom Vijayalakshmi

Lyrics: Madhan Karky

Literally, a shocking blow that leaves us so much disappointed. Vaikom Vijayalakshmi is known for her splendid classical numbers and out here, D Imman with a risky speculative attempt experiments with her vocalism in different modulation fails. If you’re wondering who this Vaikom Vijayalakhsmi is, kindly listen to the tracks like ‘Kaate Kaate’ from Celluloid.


Romeo Romeo

Singer: Vishal Dadlani, Hyde Karty

Lyrics: Madhan Karky

Nothing new about the song and the treatment is so normal that we have seen in many movies, where the heroes have their appearance as ‘Romantic Romeos’ and Vishal Dadlani more familiar for such tracks croons in own panache.


What follows next aftermath these tracks are the versions of Karaoke that D Imman doesn’t miss out to offer his music lovers to have the privilege of practicing the tunes.

On the whole, ‘Romeo Juliet’ has couple of songs like ‘Dandanakka’ and ‘Thoovaanam’ that occur fabulously with more instrumentals, vibrant music and singers. While for the rest, it should do good with the visuals.


Verdict: Passably okay, but not the best of Imman.



தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Music has no language. And for the ones who couldn’t lay their earnest trust of belief in this saying had it all witnessed before years through the everlasting musical realms through ‘Sankarabharanam’. A film that crossed beyond the boundaries enchanting us all and now with the digitally restored version dubbed in Tamil, it’s a gracious opportunity for the ones of this generation to have a different experience with it.

Certain films are not to be critically analyzed, but taken up as a case study and Sankarabharanam, directed by K. Vishwanath belong to the latter one.

The film speaks about a pure relationship of teacher-student in the world of music. J.V. Somayajulu plays an orthodox Carnatic singer who has made the cities and villages to fall for his musical spell. He comes across a young lady(Manju Bhargavi) who is supposedly to be trapped into the world of women on street. Apparently, as they come across each other, the magic of music happens, but not sooner do the fate plays its havoc with the emergence of western music. What happens next is a drama of touching emotions and a climax that creates lump in our throats.

Putting down our review in words for Sankarabharanam would turn to be an amateur task. It is an experience of wonderful delight. The dialogues (thanks to the writer for Tamil version) for delivering the exact emotional punches that were present in the original version. There are so many dialogues in the film, which speaks about the traditional ties that have been separating the people based on caste, the infuriating lines against the fake teachers of music are mind blowing ones.

The second half might take away with a diversion from the central theme of this film, where it focuses on the daughter of Somayajulu and her falling in love is entertaining indeed.

There is no need to speak a word about ‘Musical’ aspects of this flick and it’s a blessing to the souls that keep us enthralled through the course. SP Balasubramaniam won the best National award for his voice and the album is packed with splendid ones.

Final Word! Don’t miss Sankarabharanam and if you belong to the previous generation of 70s make sure your children and grandchildren watch it without fail, for they would boast of being a part of India film fraternity when addressing the world level film leagues.

Verdict: Leaves us marvelled throughout the musical downpour of bliss and emotions.



தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

Conmen were once the favourite of Hollywood channels and instantly, the Tamil showbiz has turned more fanatics towards them. Over the years, we have been coming across the good will Robin Hood and last year release ‘Sathuranga Vettai’ claimed to be a decorous hit. From the new bunch of team, ‘Rajathanthiram’ throws an ultimate heist thriller that comes as a package of some promising performance, unexpected twists and few more surprises.

The film traverses through the likely minded unconventional personalities – Veera, Siva and Ajay. They are looters of town who make headlines for their unique style of heist, but they never attempt for anything bigger, but their life takes a turn in ‘Italian Job’ twist style, when they come across many characters including a young beautiful girl (Regina) proposing MLM business and these trio land up for a striking deal with Pattiyal Sekar.

As mentioned earlier, the film boasts of a new-yet-fabulous star-cast that comes offering the best of their potentials. Not to miss the generously compelling performance of the lead actors – Veera and Arjun who bring forth everything on its toast of emotions and humour at an ease. Decades back, we could sense the similar flight of excitements on watching JD Chakravarthy performing those best works. Veera remaining sangfroid in many situations without any complex gestures makes it more brilliant. Regina Cassandra deserves her quotient of best appreciations for a remarkable job. She might be straining herself a lot, but has a neat attitude and her dialogue deliveries keeps us enchanted over her. Siva brings up an iconic performance now and then as possible. Ilavarasu takes sleepwalk through his role and as usual gives into the crème de la crème one. But who overshadows everyone among the promising star-cast is none other than producer Pattiyal Sekhar, who astonishes us completely throughout the film, Embracing the best dialogue deliveries and body languages, he is the showstopper here.

When you are introduced to the genre of ‘Conmen’ and ‘Heist thrillers’, no way you’re easily shown the way to some references, especially the new generation of movies like ‘Soodhu Kavvum’ and ‘Sathuranga Vettai’. Some of the sequences in the film easily lets us reminiscence of such illustrations, but apparently the nitty-gritty element of engrossing screenplay evokes the engagement. The efficient method of revealing the suspense elements turn to be the most surprising element here. Of course, you make some predictions tickling your cognizant department, but as some of the best quotes say, a filmmaker is supposed to make the audiences win with their guesses and somewhere shock them with surprises. In all likelihood, filmmaker has ritually followed these ethics.

Sandeep Chowta has been a highly celebrated music director far-famed more for his signature theme music and background score, especially in Bollywood and this one adds an extra feather to his kitty. Cinematography by Kathir has always been a beautiful icing of cake and the sleek visuals grips up the thrill elements voraciously.

Director Amid has seemingly worked a lot in both narrative and technical aspects to make it a full-fledged entertaining movie. To look up for something on the flip side, there aren’t anything much, but the only point is the delayed release and with accordance to the couple of references we made earlier, this one seems slightly to be a so-called runner up concept to the other two ones that have already proved the best in BO.

Overall, ‘Rajathanthiram’ has been very well presented with some surprises in the screenplay, decorous performance of artists and appreciable technical ones.

Verdict: A heist thriller that will keep you in surprise till end.

Enakkul Oruvan

Enakkul Oruvan

தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

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.




தமிழ் சினிமா அப்டேட்ஸ் களை உடனுக்குடன் தெரிந்து கொள்ள Filmi Street App - ஐ டவுன்லோட் செய்யுங்கள்

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.



 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.

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