"I"is an upcoming Tamil romantic
thriller film directed by S. Shankar
and produced by Venu
Ravichandran 's Aascar Films. The
film stars actor Vikram and Amy
Jackson along with Suresh Gopi and
Upen Patel. The cinematographer is
P. C. Sreeram and music is
composed by A. R. Rahman
Nokia Lumia 925 key specifications
4.5-inch AMOLED ClearBlack display with 768x1280 resolution
1.5GHz dual-core Snapdragon processor
1GB RAM
16GB of internal storage
8.7-megapixel PureView rear camera
1.2-megapixel wide-angle front camera
Windows Phone 8
2,000 mAh battery
Nokia Lumia 625 key specifications
4.7-inch 480x800 resolution
1.2GHz dual-core processor
512MB RAM
8GB internal storage, expandable by up to 64GB
5-megapixel rear camera
VGA front camera
2,000mAh battery
ஆர்யா, நயன்தாரா நடிக்கும்
ராஜா ராணி படத்தை அட்லீ இயக்குகிறார்.
படத்தில் ஆர்யா, நயன்தாரா கணவன்,
மனைவியாக வருகிறார்கள்.
The track list of Raja Rani
Actor Vishal had spoken very highly about Director Suseenthiran’s Aadhalaal Kadhal Seiveer
(AKS) a few weeks back in an interview to Behindwoods and our expectations about the
movie naturally shot up.
Suseenthiran is known for quality movies such as Vennila Kabaddi Kuzhu and
Azhagarsamiyin Kudhirai. He has always been choosing diverse subjects in each of his
movies and now he has based his latest movie on a teenage romance, set in an engineering
college in Chennai. Selvaraghavan had towed a similar line, a decade back in Thulluvadho
Ilamai but his setting was a school.
Here, Suseenthiran has not just stopped with showing the rosy side of such hormone-
driven college romance but he has also focussed extensively on the striking realities and
grim consequences that arise from such a romance.
The first half has its share of fun thanks to some lively characters in the college such as
Arjun (earlier seen in Kadhalil Sodhappuvadhu Yeppadi), the guy with a feminine voice and
the reference to Mankatha Ajith’s salt ‘n’ pepper hair. Arjun keeps the mood light amid the
tension around, with his spontaneous comments. The girl who plays Manisha’s best friend
Jenny, is another important character and she adds a different angle to the proceedings.
The way teenage lovers coolly resort to lying, to save their skin at home is again enjoyable.
But we get the feeling that save romance, nothing else is on their mind. We might also
wonder if ‘crossing the limits’ is something which is so easy for this generation’s
youngsters.
The running time of the movie is a crisp 106 mins and the screenplay is unwavering. The
gripping family drama really takes the movie along, post the intermission and the finale is
sure to leave a lump in your heart as we are shown the unfortunate little victim of this
entire episode.
The casting in AKS is mostly on the mark with Jayaprakash and Thulasi as the heroine’s
parents, investing their heart and soul into the movie. Under intense duress, both these
actors mirror how parents would react in real life. Jayaprakash brings out the concern and
helplessness in his body-language while Thulasi stands as a pillar of support for her
troubled daughter in the end. Poornima Bhagyaraj as the hero’s mother doesn’t have much
of a role compared to Thulasi.
The way both the families react to the crisis on hand and how people respond to the same
situation in a different manner, are nice lessons in human behavioral dynamics. This brings
out some really engaging drama in the second half.
The hero Santhosh Ramesh could have been a lot more spontaneous. Manisha Yadav plays
the vulnerable and the emotionally fickle college girl pretty well and this is an extension of
her role in Vazhakku Enn 18/9. She too has some scope to improve. The chemistry between
the lead actors could have been more sparkling.
Yuvan Shankar Raja proves why he is the ‘Little Maestro’ in the finale of the movie and the
little pathos song sung by Yuvan himself, will surely move you. The little child that comes in
these scenes is a delight to watch though it’s really heart-wrenching as well. Great work by
the team in capturing all the myriad reactions of this child in a candid manner.
Among Yuvan's songs, ‘Mella Sirithal’ is well-choreographed and comes in the title credits.
‘Thappu Thanda’ has been aesthetically shot too. He has composed some extra songs for
the BGM score of the movie and they gel seamlessly with the screenplay.
The cinematography by Soorya is functional and shines through in the songs particularly.
On the whole, AKS is a ‘slice of life’ tale topped by a really impactful climax. Teenagers and
their parents ought to watch this one, for sure.
Verdict: Suseenthiran is back in form with a short impactful teenage romance
( 3.0 / 5.0 )
Lava 3G 356 key specifications
3.5-inch HVGA display with a resolution of
480x800 pixels
1GHz dual-core processor
256 MB RAM
Dual SIM with Dual Standby
1.3-megapixel rear camera with flash
VGA front-facing camera
3G, Bluetooth, Wi-Fi, GPS
Expandable memory up to 32GB with micro
SD
1500mAh battery
Android 4.2 (Jelly Bean)
Lava 3G 402 key specifications
4-inch WVGA display with a resolution of
480x800 pixels
1.2 GHz dual-core processor
256 MB RAM
Dual SIM with Dual Standby
3-megapixel rear camera with flash
1.3-megapixel front-facing camera
3G, Bluetooth, Wi-Fi, GPS
Expandable memory up to 32GB with micro
SD
1500mAh battery
Android 4.2 (Jelly Bean)
Aindhu Aindhu Aindhu (555),
Is an action and suspense elements to
weave a romantic tale. The film’s long in the
making does not in any way come in the
manner it appeals to the audience.
The all pervading emotion of love, when it
strikes people, can make them traverse to
any length beyond imagination and
comprehension. What it does to the
protagonist and the antagonist at different
levels is all about 555.
Sasi is a master teller when it comes to
narrate a story about love and its finer
aspects and there would always be a kind of
poignancy in them. 555 is no exception. In
Arvind Sureshkumar’s story, Sasi has also
used a lot of action and suspense to drive
home his point. There are adequate twists
and turns in the narration to make the
audience engrossed in the enterprise.
The mood of the film is set in the opening
accident scene right away, shot terrifically by
Saravanan Abhimanyu. Sasi spreads his cards
on the table one by one, bringing in the
characters, their conflicts and resolving them
one by one, untangling the knots while on the
way to the climax.
The romantic scenes are quite endearingly
done and hence the rooting for the lead pair
happens quite naturally. The suspense about
Bharath, Mrithika and the other characters
are presented effectively.
Bharath, the biggest strong point of the
movie, has given his 200%. He dances like a
dream and emotes well as a confused lover
in search of an answer. His hard work is
palpable in every frame and his sculpted
body with an eight pack is sure to win him a
lot of fans.
Out of the two heroines, Mrithika has a
meaty role and the newcomer’s good looks
and natural performance get added on to the
plus list of the film. The scene when she
asks Bharath to foretell about her future
husband with a lot of unfeigned innocence is
a simple testimony to the actress’s
capabilities. Erica Fernandez looks good and
delivers the small role that she has been
assigned with ease.
Cinema is all about collective work and the
entire team of 555 has worked in line with
the vision of the director. Under Simon’s
music, while Mudhal Mazhai is a breezy
lingering number, Vizhiyilae deserves
applause for the way it is choreographed and
executed. Simon does a neat job with BGM
too. The Ezhavu number although differently
executed, places a question about its
presence.
Saravanan Abhimanyu maneuvers with lights
and colors to bring the apt mood of the
scene and scores best in songs and action
shots. The graphic sequences, be it the
opening car crash or a much simpler scene
like when the two Bharaths are brought
together in the sub-way, are nicely done.
Since 555 is not a humor centric film, there
is not much scope for lighter moments. Even
then Santhanam tries to lighten up the mood
with his ‘Genelia’ and ‘Anjali Paappa’
dialogues. For the comedian, it is a different
role in 555 and he delivers as usual.
On the flipside, wrong placement of the
songs impedes the progress of 555, the
perfect example being ‘the rowdy girl’
number. The stereotyped cinematic villain
from the north, speaking Tamil in a strange
accent continues in 555 which takes away the
sheen from the proceedings.
Toting it up, Aindhu Aindhu Aindhu although
coming much late, is a neatly done suspense-
action drama woven on a romantic base.
Verdict: Brilliant Bharath makes 555 a
good enough watch.
In the much-anticipated wait for Thalaiva,
director Vijay remarked that he felt masses
might begin referring to ‘Ilayathalapathy’
Vijay as “Thalaiva” Vijay instead of his long
held moniker. Upon watching the film this
perspective is not hard to understand as his
latest, reveals a Vijay different from what
we’ve ever seen before. Helmed as a more
serious action flick, reminiscent of Godfather
tones in its trailers, Thalaiva took on the bold
task of marrying commercial action with a
grittier look at how those without means
seek justice for a myriad of social issues.
Was the combo of Vijay & Vijay successful in
delivering a balance of mass and meaning?
The film begins in beautifully picturized
locales of Sydney, Australia where we meet
typically talented and charming lover-boy
Vishwa, played by Vijay, who along with a
gaggle of dancers run a successful business
while also pursuing fame in major dance
competitions. The premise is the perfect
excuse for Vijay to steal the scene with his
youthful moves, and fulfill the comedy track
of the film in combination with the always-
entertaining Santhanam. A cute but at times
silly & slow love story ensues between
Vishwa and lead female character Meera,
played by Amala Paul in her first pairing
opposite Vijay. We learn early on of Vishwa’s
close relationship with his father who resides
in Mumbai, played by Sathyaraj who is
depicted in an elusive but clearly powerful
role, and through a plausible cause & effect
the film shifts to India where the real story
takes place. What follows is a portrayal of
don-leadership for the good of the less
fortunate, mixed in with familial politics and
your typical revenge & good versus evil
scenarios, but told in a stylized manner.
The first half of the film drags a bit given
the lack of plot development. An hour into
the film there is no real conflict at hand,
however, within the few minutes immediately
before the intermission the audience is
rattled with shocking plot & character twists.
There are several ‘gasp-worthy’ scenes soon
after the break, based on Vijay’s portrayal
and stunning cinematography of some raw
(but not overtly gory) violence. Although the
overarching revenge conflict & final climax
scenes are not incredibly unique ideas, they
are shot very well and add to the overall
style quotient of the film.
Despite a large number of supporting stars
the film primarily relies on a few strong
performances to maintain the drama and
suspense. Sathyaraj perfectly portrays and
resembles the strong & silent elder type.
Santhanam’s comedy is enjoyable as usual,
but he evokes quite a few laughs particularly
for referencing some of Vijay’s classic lines
(“I am waiting”) & working hard for a chance
to play the hero himself. Bollywood’s
Abimanyu Singh as the key antagonist could
have done a better job; given the intensity of
Vijay’s character & the dark-running
‘Nayagan’ tones, a more legitimately
frightening villain would have helped add to
the serious tones of the film. Amala Paul
does a decent job in a fairly interesting lead
female character in a male-dominated story.
And of course when it comes to
Ilayathalapathy, Thalaiva Vijay the film lives
up to its selling point as his “time to lead”.
His ever-present lover boy charm and
penchant romantic-comedy is seen in
abundance in the first half, but his true
talent comes through after the break when
we watch him so realistically portray someone
whose innocence is erased with a few brief
realizations and who takes to the ‘dark’ side
with such ease. There are several moments
when his character is vulnerable and
unsuspecting, and that is refreshing as we
witness true human weakness & then watch
how he overcomes it. Although we have seen
him in roles of authority or don-like symbols
before (ie. Bhagavathy) Thalaiva shows us a
quieter and more pensive hero who only
flexes his muscles when necessary, but emits
that intimidation from the moment he
decides to lead. And his action & stunt work
is superb as always, and with his well-
maintained physique he looks great in both
his avatars as a happy go lucky youth and as
a leader. Credits also to Director Vijay in
trying to present a different ‘Ilayathalapathy’
to his fans.
The song videos were a true highlight, not
only for Vijay’s dance moves & the fresh
choreography, but also for the beautiful
cinematography. The melody of “Yaar Indha
Saalai “ was made sweeter with a cute video
weaving together plot development with
beautiful Sydney sights, but the “Thalapathy”
and “Vanaganna” videos stood out for their
colorful and grand portrayals, amidst the dark
shades of the second half of the film. The
BGM stands out more in the second half.
Technically the film is a real feat, with the
kind of camera work & fast paced editing by
Nirav Shah and Anthony, respectively, which
capture the raw nature of the non-urbanized
sections of Mumbai. The film emits a
generally sober tone in its colors and
costumes while in India, except for the
songs, and that coupled with generally
realistic looking action sequences by Silva
make for a more adult entertainer. Kudos
should also go to the costume designer/
makeup artist who takes Vijay’s hair & looks
subtly from boyfriend to don, leaving us with
a mature and powerful looking VJ.
Overall, although slow at the start and
missing in some of its character backstories,
the film makes up for it with few unexpected
turns of events. It is not an overtly
commercial film made for those who expect
equal parts romance, comedy and action, but
a more commercially lighter look at the
‘Godfather’ genre.
Verdict: A different Vijay offering with
enough impactful scenes, which takes its
time to build up.
Credit:-3.5/5
