Category: Tamil Movie

First, we must thank Goutham Menon for bringing a refreshing and feel good cinema in the era of useless action masala. Vinnaithandi Varuvaya is really a pure magic and works a lot with the viewers who easily identify their own flashback or current memories while watching the lead pair.

Karthik (Simbu), a Tamil Hindu mechanical engineer with the dreams of making films, meets Jessy (Trisha), a Malayalee Christian girl, who is an IT professional. And yes.. it is love at first sight! She lives on the top floor with her strict father (Babu Antony), mother and an aggressive brother, while Karthik and his family have rented out the lower portion of their house. Karthik”s passionate wooing melts Jessy, who finally succumbs to his ardent love. But her family and religion stands in the way of true love. Whats happening for their love is explained in a different way in the climax.

Silambarasan… a crappy actor in the past movies has done a great performance. His way of expression and his tears in the climax are really classic. In fact, he exposes his action in a very cool and controlled manner, which portrays him big. Keep it up Simbu!

And Trisha looks good and has delivered fine performance and even overtakes Simbu in few scenes as a confused and excited girl with real love. She is perfectly exposing her possessiveness over Simbu and inability to overcome her parents in the second half. The chemistry between the lead pair is looking real and mind boggling.

The character of Ganesh (one of the producers of this film), who appears as a cameraman cum hero’s friend in the film, is really interesting.

The picturisation of the songs is simply remarkable and AR Rahman steals the hearts with his soothing, mesmerizing melodies like Mannippaya, Hosanna. Manoj Paramahamsa’s camera work is a major plus point of the film. Antony”s editing without using any gimmicks makes the narration silken smooth.

However, the film Vinnaithandi Varuvaya is having few minor flaws. The slow phase of the second half and frequent use of bad words (Chennai Tamil) are major minuses in Goutham’s narration. But these are all not preventing one to enjoy the content of true and painful love of the film!

Billa 2 – No sense

Its a typical gangster film with just one change. Movie does openly promote invincible charismatic heroes, gorgeous girls, loads of violence and bloodshed, trendy looks and styling as its characteristics but in this process fails do have some logic / reasoning behind the entire Drama.

Billa 2 although fulfills all except the last bit which is logic to the violence is missing and its major weakness. The movie has no connect with Billa 1 which Farhan Aktar managed it very well in Don 1& 2. In Billa, characters remain the same but the plot is totally different. This was a big disappointment. Rahman is back again as Interpol officer Gokulnath (I though he was arrested in Billa 1 as Jagdish)!! Totally Strange…

Anyhow coming back to the story, David Billa a refugee comes to coastal Rameswaram in Tamil Nadu and becomes the dreaded international don in arms smuggling. He gets familiar with brutal life in the refugee camp, raises his voice against authorities who ill-treat the refugees. He incurs the wrath of a policeman Raghubir Sinha (Krishna Kumar) who is the camp in charge. He is forced to go on an assignment, planned to snub him off with but beefy Billa overcomes the tricky situation.

He soon meets a few mafia gangs and there begins a new journey in his life. On his way up, he meets Abbasi (Sudanshu Pandey), a drug mafia in Goa. Billa helps him come out of a tangle and gets into his good books. He embarks on a trip to Georgia to meet international arms smuggler Dimitri (Vidyut Jamval) representing Abbasi. During the entire course, Abbasi fears that Billa might surpass him which results in a rift between the two and Billa manages to eliminate those who put hurdles in his mission which includes Abbasi and Dimitri.

Film works to a great extent because of the sheer screen presence of Ajit. Dialogues are fantastic ‘you don’t need status to be my friend but you need one to be my enemy’. Apart from Ajith, two bollywood stars Sudanshu and Vidyut have done well in their limited scope. The two girls Parvathy and Bruna hardly create any impact in their extended cameos. Action is good, few scenes were real disaster like the arms smuggling from Indian Coastal Gaurds godown, sheer stupidity.

Music is another taking point, unlikely of Yuvan. Leave alone the uninspiring songs, even the background score is a major let-down. The film may go down well only and only with Ajith fans!

Angadi Theru

It takes a great deal of guts and enormous research to produce a realistic story — and even then, the risks attached to making it watchable are truly many. In that respect, Angadi Theru (Market Street), directed by G Vasantha Balan, is a wonderful product that manages to satisfy almost every criteria of worthwhile filmmaking.

The movie begins with a bang — literally. Post a rather nicely picturized song, as the protagonists slosh their way through the rain-drenched streets of night-time Chennai, the scene shifts to the pavements where laborers are fast asleep.

The lead pair searches for space to bed down as well (one worker asks the two to smear cement on their feet; otherwise, the police would haul them off) and do so — when a lorry rams into another vehicle and then piles into the labourers in a horrifying, bloody mess.

Cue to quite a heavy flashback. You’d think that with its beginning in the beautifully named Ittamozhi Village in the Thirunelveli District, this is another village-based potpourri — but AT makes great headway right from the beginning.

You have Jothilingam (debutant Mahesh), a school-topper in the Plus two exams, eager to study further — but his father meets with a fatal accident, which puts a full-stop to his ambitions. The brilliant student is reduced to earning his keep to support his poor family — and here; you have the director’s master-stroke: he arrives in company of friend Marimuthu to the newly opened mega-store, Senthil Murugan Stores.

Here is where the title is justified, as the name suggests one of Chennai’s busiest market streets — the Ranganathan Street, home to countless men, women, dreams, shops, business, success stores and tragic moments. It’s as though a random couple in the street were chosen, and their life spun out on-screen. The store’s owner and his staunch henchmen choose boys and girls predominantly from the Nellai District, especially fatherless youngsters unlikely to raise a ruckus if things “go wrong,” as they discuss among themselves.

Their job is to practically run the store from dawn to almost midnight, serving customers, running errands, counting stock, carrying tea — and on occasion, being bullied and screamed at mercilessly by the store’s supervisors. One of these, nicknamed Karungali (Black Leg) is a fearsome man, much given to shrieking rages and fits of fury, and the nemesis of every young worker in the store.

Unfortunately, working conditions are terrible, adding to Jothilingam’s woes, the Mess, which serves the workers is almost sewer-like, with food dripping off tables, and everyone practically falling into the food, in their eagerness to eat. Living accommodations are equally bad, but there really is no choice, if you have to earn wages.

Among these miserable conditions, life does offer some relief: friend Marimuthu is a constant source of support and humour. And then there’s Kani (Anjali), a spitfire of a girl with bright, mischievous eyes, a fiery spirit, strong heart and a will that will bend to no one. Jothilingam and Kani are always at logger-heads in the beginning, but after a few incidents, a gentle friendship develops, which gradually morphs into romance.

If ever a mega-sized store was pried apart and its innards thrown open to outsiders, this is really it. Richard M Nathan’s wonderful camera-work takes you to new levels as Ranganathan Street is analyzed from every view-point, and the store’s workings itself, shown to you, warts and all, in accompaniment to Sreekar Prasad’s perfect editing, and the art-director’s work.

There are intimate romantic interludes among co-workers; supervisors who take sexual favours when they can; love-poems that turn hilarious, blind road-side vendors who are surprisingly philosophic; physically challenged workers and faithful wives — so many tales, so many situations, all happening simultaneously, with a poignant touch.

Jothilingam and Kani, meanwhile, fall slowly into love, going through experiences that test it every turn, while the store treats it the only way it can, even as it plays host to actress Sneha, who does a commercial for them.

While newcomer Mahesh has tried his very best to give a convincing portrayal, it’s his friend Marimuthu and co-star Anjali who win the honours, not to mention the numerous secondary characters who play many memorable parts throughout the movie. In reality, though, it’s Market Street that the real hero, and as alive as any of the humans on-screen.

While the first half is fairly racy, the second half falls slightly in pace. The screenplay is realistic, yes — but the general sorrow and helpless frustration hangs in a heavy, depressing fashion.

Vijay Antony and G V Prakash’s musical score, while not scintillating, provides an adequate back-up: Aval Appadi Onrum Azhagillai and Un Perai Kettal are melodious. The stunt director deserves a special kudos for making the stunts very realistic.

The real credit goes to Vasantha Balan, though, for coming up with a realistic movie without getting caught in cliched situations; for sticking a camera into reality and capturing a slice of life.

Fans of complete commercial ventures might find the going slow — but Angadi Theru is, nevertheless, the kind of cinema you keep hoping for and only rarely get. A must-watch

Madhavan, a young upper-middle-class Indian ad moviemaker, encounters a middle aged trade union activist in an airport. Due to heavy rain the flight gets cancelled and the two make a trip by every means available from Orissa to Chennai. Their conflicting values and approaches constantly creates frictions and through this journey changing values  in India is beautifully portrayed. The movie comes with a great plot, brilliant story telling, humour and music. I have seen the movie quite number of times and each time I discover some layer that I did not notice before. But thanks to brilliant story-telling and direction these layers of complexity do not overwhelm the viewer even when we see the movie for the first time.

Flood forces Madhavan to stay in a room with Kamal Hassan who looks “less classy”. Madhavan also finds him intrusive and talkative. As flights and trains get cancelled and Madhavan is forced to go without comforts he is accustomed to and complains bitterly that India is a country where you cannot get things even if you can pay for it. Being accustomed to poorer ways of life, Kamal Hassan takes these discomforts with stride and acts resourcefully to steer them out of their troubles, especially in their common quest to reach Madras quickly. Madhavan discovers as the movie goes along that while Kamal Hassan is disagreeably garrulous, his social skills make him resourceful; while he is meddlesome, he is thoughtful and helpful; and while he is less classy, Kamal Hassan works for a cause that is worthy. The different locations of the two characters and their approach to life set the context for the movie.

The movie is a metaphorical journey for the ad maker who has not seen discomforts in life. Madhavan first faces a robber who tries to steal his suitcase and then he travels on the top of a bus to reach Andhra Pradesh. He then witnesses the victims of a train accident and finally travels in an ambulance with a boy who is badly injured in the accident with the boy finally dying. As his encounters grow Madhvan starts engaging and slowly becomes empathetic. When he donates blood to save a dying boy and sees him dying despite it, he is moved and his sense of humanism and love for the random stranger finds an expression. These encounters challenge his assumptions in life and he has conversations with Kamal Hassan who has dealt with these experiences. These conversations take them through religion, consumerism, communism, and other themes about the society. When Madhavan learns that the boy had died he questions if god exists.  Kamal Hassan answers that god exists, and Madhavan is god himself when he is moved to shed tears for an unknown boy. God is nothing but love, he argues (and hence the title, Anbe Sivam – or love is god). Kamal Hassan constantly reinterprets religion, communism and ‘goodness’ on the whole as love for the stranger.  This idea is drawn from the Bhakti movement and even the title, Anbe Sivam is drawn from the poetry of Thirumular who wrote more than 1,500 years ago.

This theme comes out through the conflicts between the two but more importantly through the father of the woman that Kamal Hassan was in love with played by the great actor Nazar.  Nazar plays the role of an unscrupulous businessman who keeps claiming that god will protect him since he prays regularly and engages in all rituals. The movie is a reflection of the Tamil socio-political milieu, especially from the interaction of ideas between Tamil revivalist movement, the Dravidian movement and the communist movements of the twentieth century.  Reflecting this, the movie has a seamless debate on religion, economic structures and human values in general.  In the movie, communism is brought into the picture through Kamal Hassan’s engagement with Trade Unions, and this ideological difference forms one layer of the movie.  A memorable scene in the movie involves Madhavan challenging Kamal Hassan that Communism is dead since Soviet Union has fallen.  He retors by askign if “Romeos” like him will stop loving if Taj Mahal is destroyed. When Madhavan responds by saying love is a feeling, Kamal Hassan argues that Communism too is a feeling. In one of his movies Kamal Hassan tells his girlfriend that they should go and watch Schindler’s List. It’s a great movie and so no one will be watching it and we can have our private space to be romantic, he tells her. This cheeky comment captures the fate of many a greate movie. Anbe Sivam did not fail in the box office, but it did not do as well as it could have. With such great acting, storytelling, humour and music, the movie could have done a lot better than it did but such are the ways of Tamil society and movie fans. I feel that the movie is so subtle in the way it treats the ideas that it has not reached a mass audience despit the presence of stars like Kamal Hassan, Madhavan and Nazar. But thankfully for people with my taste, there are people like Kamal Hassan who are willing to make great movies periodically even if they know that they will not succeed in raking in the big bucks.


Venkat Prabhu son of Gangai Amaran made his debut as a director with the film, ‘Chennai 600028’-enge area ulle varathe, a catch line that follows the title. This film ran with packed houses proving that for a film to be successful at the box office all you need is a simple story that the audience can connect with. In a country obsessed with cricket, this story revolving around gully cricket was most welcomed

Set in Chennai’s R.A.Puram, which got a pin code 600028, it talks about two cricket teams ‘Sharks’ and ‘Rockers.’ For the fourth consecutive year ‘Sharks’ lose to the ”Rockers.’ The Sharks team members include Karthik, the captain, Pazhani the key batsman, Arvind the wicket keeper and Seenu known more for his clumsiness on the ground.

The story picks steam when Raghu, a member of the Rocker team moves into their area due to family circumstances. The Sharks give him that look which seems to say, ‘enge area ulle varathe’. As the story unwinds, his friendship with Kalaiselvi, Pazhani’s sister poses a threat to Karthik who is in love with Kalaiselvi. Karthik’s love for Kalaiselvi sours his friendship with Pazhani. Looming ahead is the Radio Mirchi Cup Finals. Will the Sharks lose again at the hands of the Rockers? As the day for the big match nears, the team is in a kind of disarray with Karthik and Pazhani not joining for practice. Does the team come together? What about Raghu and Kalaiselvi? Lending glamour to the story is Christina as Shwetha. Vijayalakshmi plays the role of Kalaiselvi.

A down to earth story that most youngsters will relate to and the fresh faces in the cast lends it credibility. Chennai 600028 may not be another ‘Lagaan’ or ‘Iqbal’ yet it succeeds for its simple story told sincerely. It is difficult to single out any of the newcomers who were brilliant on screen. Mention must be made of Jai as Raghu, Siva as Karthik and Premji as Seenu. Premji the director’s younger brother kept the audience in chuckles with his spoof on ‘Enna kodummai saar ithi. And just when the ending looked so predictable, you are in for another surprise.

Chennai 600028 is a pure family entertainer. It is youthful, fun and offers clean entertainment. This was Venkat Prabhu’s first boundary or do we call it a sixer?


Goa movie which just remind you of fun, frolic, women and wine. Directed by Venkat  Prabhu’s, movie is light and breezy all through without any seriousness involved in it. Venkat Prabhu has managed to keep like Chennai 28. All is well but for few hiccups. Movie sets out to explore the changing relationships among the youths. But that’s takes very little of the screen space. The movie revolves around three youths who sets out on a trip to Goa only with a mission to fall in love with a white woman, get married and go abroad. The twists and turns they come across in their mission makes up the story. With Premji, Jai and Vaibhav around, one is ensured of fun and frolic. There are some surprises in the form of Sampath Raj, Sneha, Silambarasan and Prasanna. Movie begins in Pannapuram, a remote village near Madurai. Three youngsters Samikannu (Premji Amaran), Vinayakam (Jai) and Ramarajan (Vaibhav) are callous who spend all their time doing nothing. Their acts invite the wrath of the villagers and the village panchayat decides that the three should never meet again in future for the welfare and peace of the village. The trio decides to run away from the village and spend few days peacefully in Madurai. When they reach their friend’s place they come to know that he has married a foreign woman whom he met in Goa and that he would be flying to London soon. This results in them deciding to try their luck in Goa. They set off with a plan to lure a white woman and marry her. They come across one Danny (Arvind Akash) who helps them with food and shelter in Goa and expose them to the party culture. Roshini (Piya) a singer in a hotel falls for Vinayakam, while Jesika (Melanie), a white lady follows Samikannu from Madurai attracted by his innocence. Now enters Dany’s friend Jack (Sampath), a gay who has affinity for Danny. Soon Danny and Jack help the trio get an image makeover and start helping them in their mission. Ramarajan’s life takes a twist after he comes across Suhasini (Sneha), a rich Casino owner in Goa. They get attracted towards each other and eventually get married. But the true colour of Suhasini is revealed and he manages to escape from trouble there with the help of his friends. Vinayakam is finally convinced by Roshini’s sincere love while Samikannu gets wedlocked with Jesica. After some twists and turns in the story, all ends well and the boys return to their village to start a new life. Vaibhav has a surprise when he lands in Pannapuram in the form of Nayanthara. Premji Amaran, Jai and Vaibhav have equal screen space and they bring the roof down with laughter. Premji is impressive with his ‘familiar one-liners’ while Jai trying to speak in English and Vaibhav getting into trouble for his own acts are appreciable. Piaa and Aravind Akash have meaty roles to play while it is a surprise to see rough-and-tough Sampath playing a gay. Sneha though appears briefly seems to have shed her ‘homely’ image to do a dare bare role. She has done full justice to it. The rest of the cast includes Vijayakumar, Shanmuga Sundaram, Anandhraj, Sathyapriya among others. Yuvanshankar Raja is the real scene-stealer. A total of 9 songs including Goa theme are peppy and interesting to listen to. Sakthi Saravanan’s camera is equally appealing capturing the sands and sea-shores with clarity. Goa is Soundarya Rajinikanth’s maiden production venture on behalf of Ocher Picture Productions. Once can applaud her commitment in taking the risk to deviate from the regular run-of-the-mill stuff and try something different. However on the flip side, the movie might throw some shock to a section of conservative film audience. Also the second half wanders aimlessly and needs an immediate trimming. At the same time, one has to say that Venkat Prabhu was clear on what he wanted to do on screen and has rightly delivered the same. If you want to unwind yourself, forget all logics and enjoy, then the destination ‘Goa’

Vikram’s Deiva Thirumagal, is inspired by Hollywood movie I am Sam. The movie has been made keeping the taste of Tamil audience in mind and actors Vikram, Anushka Shetty, baby Sara have given life to his script

Story is about a man with a developmental disability who fights for his daughter’s custody after the death of his wife. Krishna (Vikram) is a dim-witted with maturity of a five-year-old, who has lost his wife. He works in a chocolate factory in Ooty and lives happily with his daughter Neela (Sara). She goes to a school, which is run by her grand father Rajendran (Sachin Khedkar), but she is not aware of the fact nor her grand father. At this juncture, their bonding gets a threat after his father-in-law Rajendran (Sachin Khedkar) came to know about the truth and drags him to the court for Neela’s custody, which devastates his emotional balance. Rajendran along with his second daughter Shwetha (Amala Paul) appoints lawyer Bashyam (Naseer) to handle the case. Though, it looks, there is a point in their argument that a retard could not bring up his daughter easily, yet their separation would not be justified because Rajendran himself is a father of two girls. However, Krishna accidentally meets Anuradha Ragunathan (Anushka Shetty) and narrates his story. Moved by his past, she decides to fight for him in the court. Bashyam, who has never lost a single case in his life, tries to win the case at any cost.

We should thank Vikram for making such an attempt as an actor, as it is very difficult to showcase the troubles of the people, who are victims of developmental disability. The actor has given such a performance that audience keep remembering even after coming out of the theatres. His childish looks, his laughter’s and wonderful expressions are treat to watch. Baby Sara has acted from her heart and one could not stop raving about the five-year-old after watching her acting. Anushka Shetty could not have expected more than this. It is a dream role for any actress, as her character in the film had good scope for performance without being glamorous. Santhanam in his usual ways, steals the show, whenever he comes on-screen. Nasser, MS Bhasakar and other characters have also done justice for their roles.

Nirav Shah has wonderfully captured the locales of Ooty on his lens. His light settings for indoors and outdoors are praise worthy. Music by GV Prakash Kumar is very good. Editor Anthony would have been merciless in the first half since audience might get slightly bored due to slow proceedings. And finally, director AL Vijay, who has penned the story and screenplay, has made his best film ever. He has really worked a lot on the subject, as it is a complex and sensible story.

Al Vijay has etched an emotional story with a lot of commercial elements. We can see a mentally handicapped character in a highly sentimental melodrama. Vikram surely touches one’s heart with his brutally honest depiction of a mentally disabled man and eventually brings out tears in you. His chemistry with Sara is wonderfully pictured and father-daughter bonding is threaded well.

The only drawback of the movie is in the first half which is bit boring. It is only in the second part, the proceeding speeds up. However, Deiva Thirumagal has a heart touching subject with wonderful performances from the actors. Don’t miss it!

Vazhakku Enn 18/9 Movie

Lot of movies is inspired from real life incidents, an event that create a spark to conceive a movie. But these are driven by commercial clichés; moviemakers make a safe bet opting mass elements. However, ‘Vazhakku Enn 18/9′ is a phenomenal movie directed by Balaji Shakthivel. He leaves no stones unturned in taking a serious issue that haunts teenagers today. The movie is so close to reality that we feel that things just unfolding next to us. He is the same one who directed Kadhal, movie about romance between a couple of different communities and Kalloori which was about death of innocent students for political reasons, Vazhakku Enn is also a different one.
It portrays the obscene MMS scandals that play spoil sport on youngsters’ lives these days. The mindset of today’s youth, their wayward lives and romance has been pictured well.

Velu (Sri) is a fun-loving fellow who works in a roadside shop. An orphan, he works for his survival. He comes across Jothi (Urmila Mahantha). She works as servant maid in adjoining apartments. And it’s love.
Their lives in the apartment Aarthy (Manisha Yadav), whose father and mother work to make both ends meet. Dinesh (Mithun Murali), a student too resides in the same apartment. Dinesh leads a wayward life and is obsessed to watch porn. As it happens, Aarthy falls for him without knowing his past and intentions. A series of happenings lead to a crime and the baton is passed on to inspector Muthuraman (Kumaravel), who investigates the crime.
It is a script that gets its sheen thanks to brilliant performance of the star cast. Sree as the platform dweller gets under the skin of his character to give his best, while Urmila is impressive as a short poetry on-screen. She bubbles with energy and emote at ease. A welcome find by Balaji Shakthivel and she is sure to go a long way.
Mithun Murali as Dinesh is tailor-made for the role. His desperation and is brought out well. Watch out for a good show by Kumaravel as a greedy cop. All these have all been director’s artistes delivering what Balaji Shakthivel wants.
Manisha Yadav has come out wth a splendid performance. Her body language and mannerisms fit well the character she has done. Urmila is no inferior to Manisha, and both the actresses add credibility to their respective roles.
Cinematography by Vijay Milton is the hallmark of the movie. Shot in soft lens, every frame speaks for itself on screen. Specially the scenes where Aarthy comes to know about Dinesh and his motives, how she manages to get his memory card are picturised well.
Prasanna’s background score is something that lends solid support to Balaji Shakthivel’s sincere efforts. Complimenting the whole unit’s good work is slick editing by Gopi Krishna.
‘Vazhakku Enn’ has moments that leave a lump in your throat. It needs a man with conviction like Balaji Shakthivel to come up with such a convincing film. Hats off the whole team for a splendid show! A must-watch.


A historic movie based on a novel Kaval Kottam. Vasantabalan has done intense research and ensured the movie doesn’t lack pace and ends up a riveting fare. Vasantabalan previous hit Angadi Theru was superb, hence always felt this movie could also be well showcased. I was not proven wrong.

Addhi, Pasupathy, Dhanshika play the lead. Movie is set around Kombuthi (Pasupathy) who is the head of a community that lived in a hamlet in 18th century. They thrive by stealing the rich and influential men. Kombuthi meets Varipuli(Aadhi) whose livelihood is by stealing people. Inspired by his heroics, Kombuthi takes him to his gang. He brings Varupuli to his village and a bond develops between the two. But Varupuli has a past and his real name is Chinna and its is only in the last 40 minutes of the film that the real story unfolds. Varipuli is caught the guards from Marudhur and they claim that he escaped fearing death a few years ago from them. He was to be killed and offered to Almighty as blessing. I would not want to write how the movie ends, watch it and feel the heat.

Aadhi has been impressive and has lived his role. Pasupathy has always played a prominent role. He proves his worth doing a role with utmost sincerity and dedication. His body language and dialogue delivery adds charm to his role. Dhanshika plays Aadhi’s love interest but needs to get back to play school. Bharath and Anjali have been wasted with no real flavor to their roles.

All said, Aravaan is a good watch. It has everything a serious movie-lover would love to see. There may be few gliches in the form of too many subplots, few dialogues may make you feel that they are not historical, etc. but forget everything for splendid show by Vasantabalan and his team.


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