Yatchan

Yatchan

Vishnuvardhan and Yuvan Shankar Raja – whenever, we utter these brands, they eventually gain up our complete attention for they at least give us a couple of Chartbusters we can relish upon. Apparently, this time with Yatchan, Yuvan Shankar Raja has made a stunning comeback with the album making beautiful songs.

Parapara

Singers: Ranjith and Vijay Yesudas

It’s an abrupt start and the first song itself has its carved niche with beautiful composition with a mix of best sound and intonations by Ranjith and Vijay Yesudas. Both Ranjith and Vijay Yesudas offer the best renditions and the interludes are very well done. 

Konjaalai

Voices: Yuvan Shankar Raja and Tanvi Shah

It’s been a long time, we happened to hear a mellifluous treat from Yuvan Shankar Raja and now he gratifies our senses with a beautiful rendition. Tanvi Shah on her part makes an appealing effort. The instrumental parts are very well executed with more elegance.

Kaakaponnu

Vocals: Anthony Dasan, Priyadarshini and Yuvan Shankar Raja

The song is sure to become a stunning treat for all Yuvan Shankar Raja who didn’t have a big Kuthu number from the musical genius. This song brings us a newfangled combination of Hip Hop and Local Gaana style with this ensemble singers Anthony Dasan, Priyadarshan and Yuvan Shankar Raja making it happen together.

 Innum Enna

Vocals: Yuvan Shankar Raja

Composed in Jazzy style, the solo voice of Yuvan Shankar Raja dominated and the clarity of lyrics is very well retained. The song would instantly catch our attention when viewed on the screens for its situational treatment.

Champion

Vocals: Rabbit Mac, Sheezay from Psycho Unit

Every song that has come from this combination has always proved to be a good one and something scintillating. Champion is one such number that engrosses us vividly. Thanks to Psycho Unit for delivering yet another number of Kudos.

Overall, ‘Yatchan’ features some of the best peppy numbers and it can be regarded as the best Chartbuster number from Yuvan Shankar Raja after a very long time. The songs are sure to remain on the top of charts for a very long period of time.

Verdict: Bouncing back time for Yuvan Shankar Raja

Idhu Enna Maayam

Idhu Enna Maayam

As soon the show gets over, you would surely have one thing to claim – Vijay has intentionally touched this genre. He has been a man of experiments who wants to win through every genre of movie he handles, completely different and contrastive from each other. Firstly, the filmmaker deserves such appreciations for being one of the rarest filmmakers aspiring to accomplish with such endeavours.

He never gets confined to one particular zone or never wants to be identified so just like his mentor Priyadarshan, who shifts from period to a crime-thriller, murder-mystery and then a comedy (though they would be an inspired replica of Hollywood flicks sometimes).

Getting on with the synopsis and analysis of Idhu Enna Maayam, the film has some interesting elements in spite of its time-worn script and dull moments.

Vikram Prabhu and Keerthi Suresh have been lovers of the past. They come across each other and there seems to be sparks glowing again.

Vikram Prabhu owns a firm called Unnal Mudiyum Thambi along with friends that involve bringing lovers together with ideas (probably childish). Navdeep arrives into the situation asking him to make beautiful Keerthi Suresh fall for her. Vikram Prabhu is negligent at first because of their past, but later agrees, but past emotions fall into places again.

The story has many references of Neethaane En Ponvasantham, Guru En Aalu, Manmadhan Ambu and many more. This becomes the first ever reason that stops gaining our attention. But Vijay tries to please us with a narration, which again stumbles terribly in many parts. It’s quite saddening to see a filmmaker who has made some appreciable films falling back into the erroneous zone.

Vikram Prabhu’s performance is soulless. He has to be choosy with what he does or else would be lost in the league of crowds. Keerthi Suresh is impressive with her looks and her skills in dance and dubbing in own voice is a good stroke. This is a passable debut for the missy, who has a big league of movies coming in shortly including Sivakarthikeyan’s Rajini Murugan. Others in the cast, though prominent ones like Nasser, Ambika and so on, they lose their scope due to imperfect characterisations and fallible writing.

Musical score by GV Prakash is disappointing in places, but the cinematography by Nirav Shah and editing by Anthony are appreciable with beautiful visuals.

On the whole, Idhu Enna Maayam is a mediocre film that carries fewer emotions in places and from a filmmaker who made some poignant love stories like Madrasapattinam, this is not something we expect from him. But we must appreciate the making style of Vijay and not including any double entendres and thereby making it pleasant though average.

Verdict: Magical moments occur in places

Rating: 2.5/5

 

Sakalakala Vallavan Appatakkar

Sakalakala Vallavan Appatakkar

Let’s hit it straight – Are you so much thirsty for a Pakka commercial entertainer that has mindless entertainers with glamorous, steamy scenes, double entendres, action, sentiments et al, Suraj’s directorial Sagalakalavallavan Appatakkar becomes your favourite one. Don’t look up for too my logical quotients and if you’re strongly looking up to quench your thirst with the above mentioned quotients, we have nothing to comment.

Set in the backdrops of a village, Jayam Ravi is seen as a guy with nothing to worry about. He is deeply in love with a beautiful girl (Anjali), who happens to be the cousin of Soori. Ravi comes to Chennai for attending the marriage of his cousin girl (Trisha). When her fiancé gets arrested by the cops during the time of wedding, to save the family reputation, Ravi marries Trisha, who is completely in contrast to his nature. Soon after the marriage, Trisha starts torturing Ravi for divorce due to difference of lifestyle and opinions. At this juncture, there comes a surprising character Vivek in different avatars.

As we have briefed at the earliest, the film is strictly for the suburban and rural audiences, who have been completely waiting for something that would be make them gratified. There are some oomph factors from Anjali and Trisha that satisfies them with immense effects. Jayam Ravi had taken a long break due to his involvement in some challenging projects, but he made his way comeback in a decent mode through Romeo Juliet. But this one is slightly letting down our hopes. An actor who is well known to perform unconventional roles confining to commercial ground is just okay, but not appreciable. He does his best to cater the commercial tastes’. Soori tries to tickle our funny bones, but most of the times lands us up with mediocre scenario. The arrival of Vivek creates an anticipation of something more engaging, but definitely it lets us down with his double meaning stuffs.

The first half has some lively moments, though average with the scenes involving Soori and Jayam Ravi creating some humour zone. But sooner in the second half, everything turns stereotypical of what we have been seeing in Tamil cinema for the past many decades.

Doesn’t it look like the Sivaji Ganesan in Pattikaatta Pattanama song flick and Kamal Haasan’s Sagalakalavallavan. Maybe, this is the reason why the makers had titled it at the last minute to avoid confusions. But this one is far away from Kamal Haasan’s yesteryear commercial entertainer.

Thaman could better try to revive his style in Tamil cinema for most of the songs are replication of his very own compositions in the Telugu albums. Nothing much to be impressed with cinematography.

On the whole, Sagalakalavallavan Appatakkar is a tailor made film for the commercial bunch of film lovers. It’s not that we are criticising the film, but Suraj who has crafted some enjoyable commercial entertainers in the past could have brought forth some engaging moments with fresh scenes and narrative.

Verdict: Yet another commercial pot boiler

Rating: 2.25/5

 

 

 

Orange Mittai

Orange Mittai

A journey is always filled with revelling moments and some contrastive experiences. Life is indeed a journey of bittersweet moments and that becomes the soul of this film Vijay Sethupathi starrer film directed by Biju Vishwanath as the title suggests ‘Orange Mittai’ that is tinged with sweet and bitterness. Very rarely we do see such movies surprising us in the theatres, where they emotionally let us connect and bring some smile with tears together. Well, don’t assume this is a tragic movie and keep away from watching it. This might be a spoiler alert, but again there could be some misconceptions of seeing Vijay Sethupathi as a sick patient and probably the wrong guesses might pop up. The film also features Ramesh in another lead role alongside Aarumugam and Aarshitha.

The film is a comedy drama, where an EMT Sathya (Ramesh) has completed his first year death anniversary rituals of his father. He visits the house of his girlfriend Kavya (Aashritha) and his father shocks him with some business plans of fortune for a happy married life, which disappoints him. He comes back on duty and that’s when an urgent call from a heart-attack patient Kailasam (Vijay Sethupathi). Rest of this film is about the journey of 48 hours that brings two contrastive characters Kailasam and Sathya together giving them a father-son relationship.

Very well written and beautifully crafted narration with crisp and short duration stands out to be the enthralling experience with Orange Mittai. Just a running length of 1hr 45 minutes and we are convinced with decent screenplay that doesn’t turn out to be vague anywhere. The characters are just limited, but they get a substantial scope. Be it Vijay Sethupathi or the minute one like the love failure case that gets into the ambulance, everyone etch an impressive element. Ashok Selvan appears only during the last frame, but even gets our attention. Such is the appealing sketch by Biju Vishwanath and the roles played by everyone.

The scenes involving Vijay Sethupathi and Ramesh reflect the real life instance of many fathers and sons. There are clashes, where Ramesh swears in bad language upon the annoying nature of this aged Vijay Sethupathi, but the very next second, they reconcile. This father-son relationship is something we have never seen in many Tamil movies in the recent times, but this one projects a reality.

When it comes to performance, Vijay Sethupathi throws up an ultimate vivification of absorbing completely to the character and he owns lots of awards now. Preferably, a National award for his scintillating performance and you can sense it everywhere with his portions. There is a particular scene, where we get appalled with his sickly outburst in hospital and immediately during the auto journey, he starts dancing for ‘Adiye Manam Nilluna Nikkaadhadi’. Ramesh is awe-inspiring with his naturalistic performance. Karunakaran doesn’t appear more than couple of shots, but has a very good characterisation though it’s slightly negative. Aarumugam as Ambulance driver keeps tickling our funny bones in many places and his episodes with Vijay Sethupathi are uproarious. Aashritha is a simple beauty and her performance is appreciable.

Musical score by Justin Prabhakaran is a real bliss to the film that makes the drama complete. The background score is pleasing and couple of songs ‘Payanangal’ and ‘Theerathey Aasaigal’ are emotionally binding.

Orange Mittai offers a unique experience based on emotions and relationships that is beautifully written and very well shot by Biju Vishwanath.

Verdict: A poetic emblem of sweet emotions

Vasuvum Saravananum Onna Padichavanga

Vasuvum Saravananum Onna Padichavanga

Carrying the most famous brand of ‘Boss Engira Baskaran’, Arya-Santhanam-Rajesh trio is back with Vasuvum Saravananum Onna Padichavanga. The film is produced by Arya’s home banner of The Show People with D Imman composing music.

1. Vasuvum Saravananum

Singers: Sooraj Santhosh and Kailash Kher

Lyrics: Na. Muthukumar

The song is simple and well composed by D Imman with not too many complicated instrumentals. The lyrical lines by Na. Muthukumar is merely average, but its okay when we would watch them on the screens. The singers Sooraj Santhosh and Kailash Kher are best in their places.

2. Sona Sona

Singers: Armaan Malik, Varun Parandhaman and Maria Roe Vincent

Lyrics: Na. Muthukumar

Peppy tune that might not impress you at the earliest, but might keep you engrossed with repeating hearings. Much alike rest of the songs, the singers play a vital role in enhancing the feel of this track.

3. Lucka Maattikkichi

Singers: Dholak Gana Jagan, Senthildass, Palaniammal

Lyrics: G Rokesh

Rokesh has been having his realms in the industry with back to back hits like ‘Danga Maari’ and ‘Dandanakka’. Now he comes up with something similar in the genre ‘Lucka Maattikkichi’ that has been gaining good credits from the moment of single track release. This song is sure to make a good show in the theatres.

4. Adadaa Onnum Solladha

Singers: Benny Dayal, Shakthisree Gopalan

Lyrics: Na. Muthukumar

A soft toned melodious duet that brings the much celebrated princess of vocals – Shakthishree Gopalan. Benny Dayal as usual is so much best with his vocalizing strengths. The musical components are just casually with not much impact.

5. Naa Romba Busy

Singers: Santosh Hariharan, Neeti Mohan, Sharanya Gopinath

Lyrics: Na. Muthukumar, Snigdha Chandra

Based on the famous Tamil film dialogue by comedian Goundamani ‘Naa Romba Busy’, D Imman has composed this track with hilarious factors. He had recently attempted the same with ‘Dandanakka’ in Romeo Juliet, where he had blended some dialogues from T Rajendran.

Rest of the album has the Karaoke version of Sona Sona, Adada Onnum and Lucka Maattikicchu.

Overall, ‘Vasuvum Saravananum Onna Padichavanga’ has mediocre music and it looks like D Imman has rendered something that would be appropriate for this film. But he had given some best music for commercial entertainers like ‘Jilla’ with an equal mix of melody, fast beat and folk numbers.

Verdict: VSOP – Just ¼ cutting

Naalu Policeum Nalla Irundha Oorum

Naalu Policeum Nalla Irundha Oorum

Cast and Crew Details

Directed by : N. J. Srikrishna
Produced by : V. S. Rajkumar, P. Arumugakumar
Starring : Arulnithi, Remya Nambeesan, Bagavathi Perumal, Singampuli, Rajkumar
Music by : B. R. Rejin
Cinematography : Mahesh Muthuswami
Edited by : V. J. Sabu Joseph
Production company : Leo Visions

Sometimes, the basic concept of a film would be phenomenally great, somewhere going by the panache of Avant-Garde filmmakers. There are times, when we view a similar film alike from France or Italy, extending our appreciations for a satirical take. The film is based on a compelling theme – THINK BEFORE YOU ACT. It’s often so relevant to our everyday lives and this fictional comedy based on four policemen in a peaceful village is based on this very concept.

Porpandhal has been a peaceful village, where the land is blessed with innocent and good-hearted people .You miss a thick gold chain, you comeback after two days and get it back. That’s the spirit of this village, where you drop the money after buying goods from a shop as token of faith. Arulnidhi, Singampuli, Naduvula Konjam Pakkatha Kaanom fame Bhagavathi Perumal and Rajkumar are the four policemen leading a happy life. They play games, watch cricket and shut down the police station by 5 p.m. and Sundays are strictly holidays.

Since there hasn’t been a single police case registered in the time of more than decades, their lives are shook by a sudden order from higher officials on their transfer to the state’s most violent district of Ramanathapuram. Apparently, these policemen hatch some plans of turning the innocuous land into a corrupt place so that their position would be retained here.

But less they did expect some shocking convulsions that are yet to strike the town.

As said above, the film holds some prominence for filmmaker Sri Krishna coming up with some innovative theme. He deserves commendable credits for crafting an interesting plot with light-hearted moments. But the basic problem rises with the fallible writing. Hit the bull’s eyes or at least manage to keep the audiences engrossed should be the primary motto of this film, but it fails to deliver the assets. The first half is laced with so much of loose ends with nothing much to carry. When we start expecting there could be something substantial in the post-intermission sequences, yet again, the scenario remains the same. The basic problem with the film is the confusion of balancing humour with seriousness.

Arulnidhi has to be too choosy with the scripts and roles he wants to take up. He had made a wonderful phase with ‘Mouna Guru’ and he needs to pay more attention towards it. This is a very much underplayed role that doesn’t shoot up his career graph. Singam Puli is seen over-reacting during most of the sequences. Both the actors Raj Kumar and Bhagavathi Perumal together streaked up a hilarious riot in Naduvula Konjam Pakkatha Kaanom, but they remain dumb and silent throughout the film. Ramya Nambeesan doesn’t get a meaty role though she performs at her best.

Technically, it’s a film with mediocre that lacks strong elements in both music and cinematography.

Overall, if the makers had kept the film intact with good flow of screenplay and engaging elements, NPNO would have been a great time pass film.

VERDICT: GOOD THEME BUT FLIMSY PRESENTATION

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