By: Sunil Noronha
Friday, March 03, 2006
If we thought that this was not S.J.Suryah's film, but Tamilvanan's, we were thoroughly disappointed. The film starts with the special stamp of Suryah.
Hero is a womanizer (in the film). Wherever he works, women fall for his glib talk. He takes advantage of them both physically and culturally.
Nayantara happens to move into his focus. She becomes his next target. He chooses romance as his weapon. Nayantara too falls prey to his big talk and falls in love with him.
Clever lies won't last for long. Nayantara was heartbroken when Suryah's true self is revealed. The film ends when Suryah turns good and cracked romance comes to life.
Suryah continues to excel in putting his hand on Nayantara's hips and inserting dialogues with double meaning.
Suryah deserves a 'yellow' shawl for enjoying and mouthing the obscene dialogues penned by Prasanna. Accomplished poets would be defeated by his repetitive rendering of same dialogue. In make-up again, he shines like a wall with a fresh paint.
'Hit me with anything, but cell phone. You will get into problems" cleverly uttering these words Suryah re-lieves his censor problems.
Nayantara is innocence personified. In the climax she scores when she dares Suryah if he had it in him to let her go.
Good for nothing Vivek's comedy is full of stain. How could the censor sleep over the scene in which he acts as a mentally retarded child, while eating? We feel like hitting Vivek who thinks it is comedy to ridicule the physically challenged and handicapped.
Ekambaram's cinematography and Yuvan's music are well ahead of the director.
The songs 'Taj Mahal oviya kaadal' and 'Edho kanngal un muhame' are pleasant to the ears and should become popular.
Kalvanin Kaadali -Illicit romance.