Another love movie. As love blossoms the lovers have to survive
the evil effects caused by certain undesirable elements and pass
through many dark tunnels before joining their hands in happy
union. This film is true to the recent trend of the Tamil filmdom.
But that Ajith acts in this film is its specialty.
Two families are in perfect harmony. Ajith and Jyothika, the heirs
of those families fall for each other. But Yugendran tells a white
lie that Jyothika is in love with himself. And Ajith is duped and
deceived by the plot of the Villain. The family bond gets broken
as a result of this.
After undergoing many hardships and untold sufferings the families
Ajith worst the Villain while the film is in half way. To our
surprise, Director Ezhil gives an unexpected twist to the film.
But we are able to guess the eventuality rather easily. Hence the
feeling that the film is long and slow.
Ajith has given a different dimension. During the song sequences
he seems to be a dancing phenomenon, spirited as he is. He has
hogged the limelight in the song Yuktha Mukhi; he has shown the
heroism of seizing the credit of the scene by force. But he
requires some more homework to acquit himself better in the
Jyothika has brought a variety of new expressions on her face, a
welcome change. The director has imparted valuable training to her
in emoting the feelings such as shyness, grief and anger. We find
improvisation and innovation in her acting.
Vivek pines for experience of 'First Night'. As a matter of
wonderment, we see a subdued Kovai Sarala. When "Aththa"
(divine mother) transmigrates into her body, Vivek is able to
provide comedy of a high order (Are you the mother of the world?
Come on, show your tongue. Let's see how long it is. Come along;
show me your fifteen hands, if at all you have them, as
Ramanarayanan show in his film!)
Vaiyapuri has done it great in his single and separate track. This
augurs well for his growth.
Yugendran, the handsome Villain, keeps Ajith spellbound to the
best of his ability veteran Sivakumar appears as an adept in
crying circumstances. No doubt, he is a master of pathos. The
actors who cannot emote well in grievous scenes will do well to
take a leaf out of the look of this experienced showman. Sayaji
Shinde ought to have taken some more pains.
Ajith performs only one stunt scene. The cameraman and the editor
have functional in unison to bring about an excellent result.
Vidyasagar is the other hero of the film several songs such as
"Kadhal Vandhadhe", "Yuktha Mukhi", and "Thirumana
Malargal" captivate our hearts. Vairamuthu has picturised the
fine sentiments and tender feelings of a woman in the lines of the
lyric, "Thirumana Malargal". And in the very same song,
Swarnalatha pours down honey in our ears. Her voice is so sweet.
Turning towards Director Ezhil, we can shake his hands for
presenting a decent film to the moviegoers. Nevertheless, he might
have sharpened many scenes for giving a better effect. (Example:
The fight Jyothika puts up with her father in her young age gives
a black mark to the talent of the director)
Throughout the film, songs have been interspersed wherever the
story moves along slowly to make up for the lack of tempo. But the
director has depicted an emotion charged climax with a beautiful
background music on the strength of the fitting climax, the
director has reached the shores after withstanding all the storms.
- A story surcharged with touching emotions
- The lilting music of Vidyasagar
- Highly competent cinematography
- The screenplay is a long drag. The film moves on
with sluggishness ever after enabling us to guess the