Pandian (Vishnu) is a luckless guy. Whatever he attempts in life, ends up in failure. Even his attempt to commit suicide ends in failure! Finally, he approaches the leader of a mafia gang and asks him to murder himself. The gangster, however, tells him that there are plenty of ways in leading one’s life instead of ending one’s life.
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The gangster cleverly makes him enjoy life and in the process our protagonist falls in love with a girl and feels the need to live and survive in the world. Unwittingly, though, he finds himself getting caught in the war between his sweetheart’s father and his political opponent. Now, he is being chased by them who are baying for his blood. The rest of the story is all about how he saves himself from the clutches of his enemies and takes his love affair to its logical end.
Siddharth, a noted designer in Kollywood for the past many years, debuts as director with this film and has apparently chosen a risk-free fun film for his first salvo in Kollywood. Right from the way the title cards are shown, the opening and other sequences establish firmly the fact that we had come to watch not a serious but a fun film.
An element of humour is found throughout the film and that too in a likeable manner. Samples: if the hero intercepts a cat, the cat’s life is put in danger; and, when he tries to hand himself by a noose, the very ceiling in which the noose is tied starts creaking and breaks down! Even the successful gangster, when accompanied by the hero, is shown to be embracing failure! Even the slides shown at the end of the film are tastefully done in a humourous manner!
The film is funny, entertaining and humourous but not sans logic. The director has woven together the sequences of the hero’s failure of his first love, the way the gangster (Amarendran) takes pity on the hero and advises him, Vishnu’s feelings of romance for Piaa (the heroine), etc. in an enjoyable manner. The dialogues are ever-so-casual. The clash between Piaa’s father Jayaprakash and his political enemy (played with aplomb by John Vijay) is enjoyable.
Of course, the screen-play is not without its set of flaws. Sequences when Pandian and his gangster friends trace and locate Piaa are quite ordinary. Ditto is the sequence when the abductor stays with the hostage at mid-sea with probably little or no escort at all by his side.
All these minor flaws, however, are minimized by the happy-go-free attitude of the plead players and the short and crisp and effective dialogues. Technically speaking, cinematography is very good and an innate effort on the part of the cinematographer is almost tangible. The introduction of ‘Japan’ Ravi and the sequence at the stroke of intermission are very well shot; the chasing sequences, though shot with lot of effort, belie logic at times.
Vishnu, who impressed everyone with his debut film ‘Vennila Kabadikuzhu’ early last year, does manage to impress the viewers in this film too. He makes us burst into laughter while he manages to keep a straight face. His emotions in duet sequences and romantic scenes are admirable and scores well in song and fight sequences too.
Piaa, seen on-screen after Venkatprabhu’s ‘Goa’, looks very attractive and glamourous. Her attires are in tune with the dressing sense of most of the North Indians. More than her dialogue delivery and body language, the director has relied a lot on the ‘speaking’ eyes of Piaa; those lovely pair of eyes hasn’t let him down either.
Vivek re-enacts the many socially relevant topics that he had taken up in many of his films earlier. He ridicules the condition of the roads, lavatories, the ‘death’ processions taken out in Tamil Nadu and the ‘metre’ fixed in autos, things we had seen him taking up in many of his movies earlier. It’s time Vivek thought up something novel and new lest he might soon find himself out of favour with the producers and directors.
Ekambaram’s music is better with a couple of songs standing out, including the song which is about ‘being happy’ and which shows almost all the young and upcoming playback singers of Tamil films. This song is likely to feature in all the music channels for the next month or so.
The second-half drags a little in comparison with the first-half but overall, it’s a compelling fare indeed, sans any embarrassing glamour, double-meaning dialogues and obscenity!