Nannbenda (Nanbenda)

Nannbenda (Nanbenda)

Nannbenda or Nanbenda carries forth the traces of previous films from UdhayanidhiSanthanam combination that doesn’t work in any parts. Produced by Udhay’s home banner of Red Giant Movies, the film is directed by debutant Jagadeesh, a former associate of director Rajesh. Nayantara plays the female lead with Naan Kadavul Rajendran and Susanne having some roles to perform.

Sathya (Udhayanidhi Stalin) is no different from the protagonists of Rajesh films, where he is a devil-may-care guy with no intentions to look up for a job and future. From Tanjore, he travels all the way to Trichy or meeting his close friend (Santhanam), which he has been following as a ritual for many years. When he comes across a beautiful girl (Nayantara), he instantly falls in love with her and no doubt, he wants to marry her at any cost and starts following her to woo her heart. But he is surprised to know about the buried past of Nayantara and her shocking crime.

Much alike most of the Rajesh movies, the screenplay pattern travel on the same route. The film opens with flashback mode, where we find the protagonist on the urge to seek revenge with someone, much towards ‘Boss Engira Baskaran’ panache. Naturally, unraveling it towards the end would be a hilarious one with accordance to the similarities. Udhayanidhi Stalin has to overcome and overshadow of what he has been doing in all his three films. It looks like so bored in many places of replicating the same old style. In fact, it’s disappointing to see that the laughter in theatres for Udhay-Santhanam combination has slightly declined from OKOK to Idhu Kathiravelan Kadhal and now with Nannbenda. The lead actors are seen with the similar costumes of their previous films with Santhanam in weird colourful costumes. Everything is a replica and it doesn’t impress us anywhere.

The comedy tracks by Santhanam rarely make us laugh and we have desperately keep our lips ready for smile awaiting their laughter therapy, only to get disappointed.  Nayantara looks little aged and her make-up artist could have worked for best results. Well, aging is not an issue with an actor, but what turns us down is her bleak characterization, which reminds us off her early day roles in films.

Harris Jayaraj gets nowhere outside his usual zone in both background score and songs, except few tracks. Too many songs inserted into the tedious screenplay get us irked.

Lack of comedy, impactful plot and ho-hum screenplay with a performance lacking spontaneity makes ‘Nannbenda’, a boring affair.

 

Verdict: Disappointing drama without humour.

 

Komban

Komban

The village based films had a revival in 2000s with the emergence of spearheading winner ‘ Paruthiveeran ’. Ever since the film had made a huge wave in box office, all eyes eventually turned this side and almost every aspiring producer, director and actor started looking up for similar movies. On the contrary after a certain extent, there was so much of aversion for this genre as the plethora of such flicks made its way relentlessly onto the screens.

Komban – yet again a film set in the backdrops of village had such expectations of whether it could happen to be a similar styled one.

Let’s take a small look into the synopsis followed by a clear-cut analysis about the performance level of this film.

As vivaciously known, it’s a village based tale revolving around Kombaya Pandian (Karthi) who has been happily enjoying the pampering act of his mother Kottaiammal (Kovai Sarala). When he gets married with Pazhani (Lakshmi Menon), from his neighbouring village, her father Muthaiya (Raj Kiran) accompanies her to his son-in-law’s place. Meanwhile, Komban has some clashes with roughnecks and this eventually starts affecting his personal life as well.

During the late 80s with the emergence of filmmakers like Bharathiraja, the village based movies had a significance because of the emotions and relationships, which had gained more importance. But shifting to the 2000s, it was a mere disappointment except ‘Paruthiveeran’ as mentioned above, which blatantly spoke about the violence, bloodshed and annoying feuds.

Komban stands apart and unparalleled for its treatment of script and decorous narration by Muthaiah. One of the major highlighting facts about the film is the crisp narration and duration as well. It remains short and you don’t feel the length anywhere. While the first half is filled with some fun, establishment of conflicts and few more commercial elements with good songs, the second half is more dedicated to the emotional drama. In fact, there is more scope for everyone in the star-cast during second half.

If you’re incisively looking up for the best scenes in the film,  here it goes…

The first 10 minutes of the film including the introduction of Karthi
The intermission sequence, where Karthi and Raj Kiran have their clash.
The surprising action block by Raj Kiran in second half.
The scene before climax, where Raj Kiran and Karthi realize the love for each other.

These scenes get the theatres involved in applause and there are dialogues, which act as additional strength in the film.

On the flip side, the reason behind the conflicts of what we see between the protagonist and antagonist is stereotypical. It’s been the part and parcel of many village based movies. There isn’t much drama between the hero and villain and the climax seems to end up in a flash. Although the climax fight is greatly choreographed, brining Raj Kiran in a different light with action avatar would have elevated the film’s standards.

Quite a disappointing musical score by GV Prakash and it looks like the right time has come for him to decide between Acting and Musical career. If the background score of this film was done with more power, it could have gained extra intensity.

As on whole, ‘Komban’ is a delightful entertainer, which has the best commercial ingredients to impress the family audiences and could turn to be a hit for this season.
 
Verdict: Good time pass movie

Kanchana 2

Kanchana 2

Raghava Lawrence had managed to create a huge fan following base for his ‘Muni’ franchise with the grand success of ‘Kanchana’, scenarios turned more favourable for the film’s brand. Now with ‘Kanchana 2’ already creating the right kind of hype, the songs have surprisingly released this evening. The album has four music directors that include SS Thaman, Leon James, Ashwamithra and C Sathya. Raghava Lawrence, Taapsee and Nithya Menen have played the lead roles and Sri Thenandal Films is releasing it worldwide in April.

 

Sandi Muni

Singer: Haricharan

Music: Leon James

Lyrics: Viveka

 

It looks like the song will be happening at the most crucial part of this film. The rendition by Haricharan exactly delivers the situational element with excellence. The musical score by debutant Leon James is the most exhilarating part of this song with chorus especially making the song more appealing to our senses.

 

Vaaya Veera

Singer: Shakthisree Gopalan

Music: Leon James

Lyrics: Ko Sesha

 

As you start listening to this song at the first time, you will never feel like going to the next number. Mark our words, you would keep unceasingly listening to this track over and again, for such is beautiful vocalising magic of Shakthisree Gopalan. Perhaps, this could be the best after she rendered her magnum opus debut ‘Nenjukulla’ from Kadal. The lyrical lines by Ko Sesha are the most beautiful icing of cake here.

 

Sillatta Pillatta

Singer: Jagadeesh Kumar

Music: C Sathya

Lyrics: Logan

 

Here comes the ‘Sangili Mungili’ style song and it’s a fun filled celebration with the lyrics having an easy grasp into our senses. If you’re really puzzled up about defining the word ‘Sillatta Pillatta’, don’t worry, Raghava Lawrence gives you the best explanation by the end of song. Playback singer Jagadeesh Kumar has done a remarkable job here by shifting the paradigms in different tones and octaves. Music director C Sathya of  Engeyum Eppodhum’ fame has composed the song with the perfect style that will doubtlessly capture the mass audiences.

 

Motta Paiya

Singer: Chitra, Sooraj Santhosh

Music: Thaman

Lyrics: Viveka

 

While ‘Vaaya Veera’ had a magical touch by Shakthisree Gopalan, this song has a different style of elegance by Chitra. Sooraj Santhosh deserves special mention for carrying even the highest pitch of songs with decorous approach.

 

Moda Moda

Singer: Master Sriram Roshan

Music: Ashwamithra

Lyrics: Viveka

 

The album wraps up with a bit song that has the slow paced yet terrific song ‘Moda Moda’, which is almost like a song we hear in the Hollywood horror movies. The style of composing by Ashwamithra is uniquely unparalleled and the outstanding intonation by Master Sriram Roshan would gain more intensity with the situational placement in the film.

 

Overall, ‘Kanchana  2’ album doesn’t disappoint us as on whole and outperforms the previous instalment ‘Kanchana’, which was completely composed by Thaman. The album comes with different musical genres and they instantly grab our attention.

 

Verdict: Decent attempt by four music directors

 

Valiyavan

Valiyavan

Cast & Crew
Starcast: Jai, Andrea Jeremiah
Director: M.Saravanan
Cinematography: Dinesh Krishnan
Editing: Subarak
Composer: D.Imman
Singer: KG Ranjith
Lyricist: Na Muthukumar
Producer: K.N.Sampath
Banner: SK Studios
Label: Think Music

Valiyavan is an Tamil movie featuring Jai and Andrea Jeremiah in the lead roles. It is written and directed by M. Saravanan.

When a filmmaker like Saravanan after making a film like ‘Engeyum Eppodhum’ announces his next project, it would gradually evoke everyone’s interest. So was the situation with ‘Ivan Vera Maathiri’. But with the film touching a mediocre level on the radar, the third outing ‘Valiyavan’ had gradually had a balanced meter. With Jai and Andrea Jeremiah playing the lead roles, the film also features Aaron, Azhagam Perumal and Bala Saravanan in important characters.

Let us check out how far director Saravanan and his combination with Jai after the grand success of Engeyum Eppodhum impress us.

The film has an onionskin plot, where Vinod (Jai) after astonished over a beautiful girl (Andrea Jeremiah) voluntarily proposing him. Sooner, she disappears and everyday in the subway, the same place, where they met becomes the favourite hub of Vinod to search for her. Finally, when they meet up and Vinoth reverts his love message, she chuckles up and says, “It’s all for fun and tit for tat’ for a funny thing that Jai had done to her in ‘Hangover’ style. But when he seriously starts following and make her fall in love, his yet to be girlfriend poses a challenge to smash down the hero of boxer (Aaron) and then win her heart.

The story has such a very simple plot that it might not impress you when heard through someone who have watched it. This happens with many films, where the basic story remains so simple, but sometimes, the strong narrative aspects of the film would enhance the status. Unfortunately, the narrative style of Saravanan is so feeble that you often get restless. For the complete 2 hours plus, the film doesn’t give you relief anywhere, except the rarest refreshing points of comedy. For the complete first half, the film, you are sickened with a very boring screenplay of Jai running behind Andrea. Except the portions, where ‘Hangover’ flick drama of Jai and his encounters with A beggar lip kiss, a stray dog gift and an African unceasingly swearing at him in filthy language. Apart from these encounters, rest remains to be an ordinary one. When we predict something could be more interesting during the second half of this film, there is again a bunch of disappointing drama until the last 30 minutes. The secrets and suspense are broken and we are taken the public stage of hero and the baddie locking horns. Nothing impressive!!!

Jai remains too ordinary in his performance and doesn’t give at least a decent reaction. Andrea Jeremiah is showcased with glamorous appeal and if you’re looking up for her performance analysis, we’re sorry. Azhagam Perumal is okay. Bala Saravanan tries to make us laugh with his usual style. Aaron, the baddie is stunningly appealing in looks and could have been very well utilized.

Musical score by D Imman is not appealing with even a single track remaining below average. Cinematography is very well done and choreography of songs and stunts are the biggest plus.

Director Saravanan seems to have lost his grip over narration and the film turns out to be a worthless watch. Sparring the six pack of Jai and last 20 minutes of the film, there is nothing impressive to catch up for this flick.

Verdict: An unimpressive pot boiler

Kallappadam

Kallappadam

Cast and Crew

Lakshmi Priya
Gaugin
Naren
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

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.

 

Dandanakka

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.

 

Arakki

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.

 

Thoovaanam

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.

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