There are these one-offs sleepers that come from no where and catch you off-guard. Trust (almost) all the hype around ‘Mouna Guru’. This is by no stretch earth-shattering fresh, so you know. Thanks to the massive word-of-mouth, the movie’s going to be a sure hit. It helps that Arulnithi’s family has the resource to run those 10 second teasers every 10 minutes.

Aother David vs Goliath story? Yes. கொஞ்சம் different. The proceedings are not always about the Hero, which makes it an interesting variation though. Every character has her/his own journey, you lose track of the “Hero” every now and then and you don’t really care.

An example – the Hero has a brother, who happens to have a college Principal for a friend. That Principal’s son has a back story. That is how deep the roles go (however short and subtle they may be). The movie is crowded with such small people, but each one of them on a tight leash, which shows the kind of control the director (Santha Kumar) is capable of, while keeping the script taunt.

I haven’t revealed the show stealer: John Vijay (How does he go from a goof ball in ‘Va Quarter Cutting’ to this?) and Uma Riaz Khan (Frances McDormand inspired role from Fargo). They ease into roles that veteran Tamil actors routinely overdo.

Mahesh Muthuswamy’s framing and lighting reminds you of his outings with Mysskin.

 

 

A Very underwhelming teaser from Shankar. I’m sure they have a better movie, but this looks very forced.

 

Selvaraghavan is back in his elements with ‘Mayakkam Enna’, after the dismal outing with ‘Aayirathil Oruvan’, doing what he does best; strapping us on to an emotional roller-coaster, where human relationships are tested at every twist and turn.

Mayyakka Enna has two parts. A struggling “genius” who has to constantly scream back at the world that he’d rather be a loser at what he loves (Photography) than sell his passion to be a “success” in life. Then, there is the travails of a Woman who is tested by the very Man she is trying to protect, when PTSD(after a near-fatal fall) makes a devil out of him.

They are not alone here. Four other friends make the journey with them. Friends you’d kill for. A friendship so sweet, it is almost a distraction to the main story, in a very nice way.

Somewhere between these two worlds Selva manages to weave human strengths and weaknesses at friendship, love, betrayal, sacrifice, persistence and redemption. Selva does all this with such ease and freshness, you just can’t help but gasp at the guy’s talent, both as a writer (shades of ‘A Beautiful Mind’ & ’7/G’, yes) and a director.

Dhanush is by now a veteran at playing roles that call for channeling inner turmoil without going over the top, in the name of “acting”. Telugu glam-doll Richa Gangopadhyay is revelation here. She pulls off a commendable performance with a character that starts out with heavy shades gray, but turns up being something else.

G V Prakash’s background score elevates the mood of the film. No song is mis-placed or unwelcome. Ramji’s cinematography is the backbone of the movie ’cause “photography” is the theme running all through Mayakkam Enna.

Many in the Theatre seemed upset about the later part of the movie, but I disagreed with them. Don’t go in expecting a buildup to the “climax”, you’d see ‘Mayakkam Enna’ for what it truly is.

 

So, I heard not so good feedback about ‘Vaagai Sooda Vaa’ and stayed away for long enough. I thought I’d give it a shot finally. Ever heard, don’t go by what you read in the media, just check it out yourself. This is that kind of a movie. Simple, yet painstakingly crafted little “message” movie.

I’m a sucker for anything vintage and fell in love with this movie even before I watched it. The movie happens in 1966 and every frame is artistically filled with artifacts from that age, but none too intrusive to stand out screaming for attention. Even simple village chores are carefully choreographed, you can’t help but wonder how a (relatively) young Director (A Sargunam) had managed to ingest such subtleties from that era.

The story takes its own sweet time to unfold. The love is unforced, the kids don’t exactly flock to the classroom, until (almost) towards the end and the “villain” does not menace around as you would typically expect in a Tamil movie. Watching the songs, I wish we could have stayed fixed in those uncomplicated times.

The hand-picked cast (Vimal, Iniya, K Bhagyaraj, Elango, Thambi Ramiah & a host of kids) adds to the charm of the movie. An unconventional love story and an undramatic climax may be underwhelming to many, but it still turned out a winner for me.

 

The big question? Should you watch 7aam Arivu in theatres? Yes, and depends. A definite ‘Yes’, for the visuals and the aesthetics of Murugadas and Ravi K Chandran. It HAS to be a big screen. Depends, for the story. If you love your movie to make you feel smarter (even with some fake science and mis-placed jingoism), you will be OK. The way these things have been presented is impressive. If that does not sound right, please wait for the DVD.

Murugadas weaves quiet an interesting tale around the legend of Bodhidharman and uses it to imagine a Chinese conspiracy to bring down India. How a Terminator-like body-hijacking baddie from China gets to ‘The One’ (a la Neo from The Matrix) who must realize who he is, in time, takes us to through the rest of the Movie. It is this part that could win you over or lose you completely.

While Surya (graceful & apt) and Sruthi (gorgeous & believable) are amazing, the complete lack of Chemistry between them is a big let down (a love song and a pathos song within 30 mins of screen time?). So too are Murgadoss’ preachy bits. Murugadoss goes ballistic about how we ill-treat Tamil (dream sequence in Thailand, OK?) and how we regard ‘ ancient Tamil Science’ (a 1600-old Tamil manual on Genetic re-engineering still needs German Technology?) as a mere superstition. Harris Jayaraj doesn’t help much either.

 

 

I’m going to go against the terrific word of mouth that “Engayum Eppothum” is enjoying and say the movie could have been much better.

At the crux of it, EE is a simple, sweet love story that unfolds, with Madras as a strong character, between total strangers (Shravanand & Ananya). Call it ரயில் ச்நேஹம் on bus(es). A thoroughly enjoyable short film. It should have ended there and it would have won me over.

Tamil films being what they are, have no place for shorts; so M Saravanan has to add a whole lot of fluff. Another forced love story (Jai & Anjali) and a whole bunch of characters with a “touching” stories later, what we have is a busload, heading towards a climax that attempts to suck every emotional strain left in your heart.

 
 

By, for, of Ajith Fans – Ananda Vikatan [42/100]

Mankatha is an out and out Ajith film. He rocks as the man with ice in his veins as the mean and diabolic cop Vinayak Mahadevan. – Sify.com

“Enna koduma saar idhu?” (What torture is this, sir?) - Outlook [1 out of 4]

For Mankatha, as you discover around half an hour into the film, depends entirely on its swashbuckling hero/villain, who appears in every frame, and makes sure your attention stays on him, and only him.  - Rediff.com [2.5 out of 5]

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