Vaseegara, Jan 15th, 2003
There is comedy, a little action and a lot of love - remake or otherwise the recipe is the same, only the proportion varies. Bhupathy (Vijay) is packed off to the city after graduation. His father's friend, Viswanathan or Vichu (Nasser) would help him secure a job. What the hero does not bargain for is Priya's (Sneha) interest in him. The girl is already engaged but that doesn't deter her. Her change of heart upsets the apple cart. Though Bhupathy wants to reciprocate he is very careful not to create problems in his host's home.
Vijay has rarely been natural in romantic expressions. Most of the time he would seem to be conscious of his steps in the song sequences and of the dialogue in the love scenes. But "Vaseegara" is different - you actually see him emoting quite well as the forlorn, love-struck young man. Sneha is absolutely comfortable in her role of the woman who is unrelenting in her love for Bhupathi. Gayathri Jayaram, the constant second heroine these days, seems to be gaining in girth. The Man Friday of the house, Kattabomman (Vadivelu) evokes laughter in some of the scenes - it is the decibel level that puts you off.
The scenes involving Vijay and Vadivelu are enjoyable and project the former as an effective comedy hero. Also the way in which he constantly addresses his dad (Manivannan) by name thus showing his closeness and affection for the old man is new and appealing. Nasser looks extremely dignified - yet why do these old men inflict stinging slaps on their docile wives, for no fault of theirs? It's time such crudeness in films is stopped.
When you see Suhasini enter the scene, you think she has a vital role in the proceedings. But no, she just makes a special appearance now and then, doles out a few axioms and vamooses. Pandiyarajan makes a special appearance too.
The story may be a retold version - but the screenplay, dialogue and direction are K. Selvabharathy's.
It is a different and more appealing Vijay in "Vaseegara," in the sense you don't see the Rajini influence (that was only too evident in "Bhagavathy") or the stereotype action hero mould so typical of him..
Pudhiya Geethai, 2003
POSITIVE THINKING is imperative for achieving goals, is what Viswaas' "Pudhiya Geethai" underlines. The end is predictable, but the conviction with which the climax drives home the message makes it interesting.
Sarathi (Vijay) is an incredibly energetic young man - student, businessman, a friend in need and a loving son. The bubbling enthusiasm, genial smile that has a shade of innocence about it and the busy-as-a-bee kind of role is rather new for the generally stone-faced, slothful Vijay one is used to watching on screen.
The film gets its title from the fact that the hero expounds on life's philosophy. Suji (Meera Jasmine), a bespectacled dullard, is a friend of Sarathi, till things take a different turn. Jo (Amisha Patel) is again a friend. Predictions at birth clearly indicate that this wizard of a hero would live only till the age of 27. And the story takes off from Sarathi's 27th year.
Vijay presents the character that has a quite a few nuances, creditably. Mention must be made of the scene in which he desperately reels out details about himself, to the doctor, even as he is losing consciousness. The dialogue, in particular, helps make the necessary impact. Suji (Meera Jasmine), who is initially childish, blossoms into a mature girl, once she falls in love. The sudden transformation is unrealistic. And spectacles or no spectacles this heroine is indeed charming. But the same cannot be said of Amisha Patel, who makes her debut in Tamil with "Pudhiya Geethai".
Thin in appearance and artificial in expression, Amisha has not made her Tamil launch memorable.
Reddiar (Kalabhavan Mani), is the stereotyped villain. But the interesting change is reserved for the climax, where Mani makes an impression.
Kalairani deserved better roles, one always thought. The little scope she's been given, she has utilised well in "... Geethai." Sanjay is almost a constant in Vijay's films. As the fisherman friend Lawrence, who is in love with Sarathi's sister, the youngster does a neat job. Nasser in such a miniscule role? - really sad. The mother of the heroine, clinging to her youth, reeks of artificiality.
Dance masters Lawrence and Rajasekar have used some appreciable dance movements in the song sequences. The scene in which the hero falls from the terrace of the college has been well captured. Ramesh Krishna is the cinematographer.
Karthik Raja's re-recording enhances the effect of many scenes, including the fight sequences.
It is a pity that a composer with such potential remains under utilised. Yuvan Shankar Raja's songs, however, don't stir you much.
Unlike many films today, writer-director Jagan's "Pudhiya Geethai" is purposeful.
Thirumalai, Oct 24th, 2003
Swetha first ignores him, but soon she understands his nature and reciprocates. Meanwhile Swetha’s father (Avinash), a business tycoon who owns six satellite channels hates the idea of a mechanic being his son-in-law and seeks the help of a local thug Arasu (Manoj.K.Jayan) whose only job is to kill people for huge money. Arasu plots an attempt to kill Thirumalai. Does Thirumalai succeed in winning his girl or is he caught up in the plot against him forms the rest of the story.
Vijay presents the character that has a quite a few fine distinctions, creditably. Vijay, who generally does not believe in exerting himself too much in the emotions department, (there are a couple of exceptions though), has made a laudable effort. When he comes to know that Arasu’s men have kidnapped all his friends, Vijay's anguish over the incident have been well outlined by him. Jothika is as fresh as she was in Kushi and delights the audience with her dances especially Dhimusu Kattai number.Kiran comes in an item number Vaadi emma jakkamma.
There is nothing new in Vivek’s comedy track.Debutant director Ramana an assistant to R.K.Selvamanai moves the film at an interesting pace. Little more care could have been taken on the screenplay. The highlights of the film are Vidhya Sagar’s music and Peter Heyn’s stunts. Vidhya Sagar’s re-recording enhances the effect of many scenes, including the fight sequences. R.Rathinavelu’s camera work is catchy especially in the foreign locales.
Ghillli, April 17th, 2004
IT'S ACTION unstoppable and a sure hat trick for Dharani. "Dhil" took off at break-neck speed and went on in the same vein till the final frame, "Dhool" followed a similar fast track course and now again "Ghilli" begins, moves and ends on an incredible top gear.
For the finicky and the fastidious the happenings are bound to be unrealistic and even impossible but for the man on the street, who enters the cinema hall looking for sheer high velocity action, screenplay writer and director Dharani's "Ghilli" provides a sumptuous three-course fare.
The mind-boggling pace, however, sets in with Prakashraj's entry. Ghilli is the nickname for the popular kabbadi player Velu (Vijay). His father (Ashish Vidyarti), an assistant police commissioner, is a martinet who finds his son (who still has his arrears to clear before he gets his degree) incorrigible. His mother (Janaki Sabesh), on the other hand, dotes on him. His younger sister Bhuvana (`Baby' Jennifer) is the typical sharp and inquisitive schoolgirl. Velu goes to Madurai for a kabbadi match. But circumstances force him to lend a helping hand to Dhanalakshmi (Trisha) who is fleeing from the cantankerous Prakashraj, a State Minister's son, madly in love with her.
From then on it is a hectic run for the two with Prakashraj and his henchmen, who seem to be teeming all over the place, close on their heels. The role is like any other you've seen him do in ever so many flicks. The names of the films may change but Vijay has been the same. But in this Sri Surya Movies' production, the portrayal as a whole is on a different plane. Righteous anger, affection for the family, soft romance and agility on the playground, show us a different Vijay. The hero has portrayed the part with finesse and feeling.
Trisha is not a mere glamour doll in "Ghilli." Agony, ecstasy, sense and sentiment are expected of her and she manages quite well. Ashish and a soft character, you think, just wouldn't jell. But no, he seems quite comfortable playing the strict dad. Jennifer is impressive. But the actor who steals the show with nonchalance is Prakashraj, as the eccentric, middle-aged doter Muthupandi, who is willing to go to any length to get his sweetheart. Some may brand it as overacting and a few may find him crude, but with his villainous glare and comical gimmicks, Prakashraj emerges as a formidable drawing force - you just cannot hate this `bad man.'
Enthused by `Ghilli's mood, composer Vidyasagar has filled up his score with racy beats and reverberations - sorry, melody has no place in this fast paced venture. Dances are equally speedy, and Nagendra Prasad's (the hero's friend) footwork equals Vijay's. Crisp cutting of scenes bears testimony to veteran V. T. Vijayan's editing skills. Not very realistic, yet artistic are Maniraj's set designs. Gopinath's camera effectively captures the quick actions. `Rocky' Rajesh's stunt conceptions are commendable despite the unbelievable somersaults in the air. But at times the action looks so dangerous that they bring you to the edge of your seat.
Dharani does not depend on duets (there's just one), item numbers or a weather-beaten comedy line (Dhamu's idiosyncrasies in the name of humour cannot come under this category at all) to pep up his screenplay. But if he thought making Hindu Gods appear with mobile phones and the like makes a song sequence humorous (!) sorry Dharani, it's not in good taste.
With his finger right on the pulse of the viewer, and Vijay, the hero whom the masses today identify with, and Prakashraj, the inimitable villain in tow, this remake of the Telugu flick, "Okkadu," comes a clear winner.
Udhaya, Mar 28th, 2004
Udhayakumar(Vijay), who has rejected a scholarship at the prestigious Princeton University in order to serve his country, joins as a substitute teacher at the same college he studied in. In one of his experiments, he successfully generates a controlled nuclear explosion that he believes will be the source of power in the future. He falls for Basandhi(Simran), one of his students but soon comes to know that she is engaged to be married. Dejected, he moves to Chennai and finds a job as a reporter at a magazine. He is recruited by a group with a charismatic leader(Nasser) who promises social change. Towards that end, the group convinces him to build a bomb that can be safely stored and moved in any form.
One of the positive aspects of the movie is that the way the story proceeds belies our initial expectations. With Simran, who is unhappy with her engagement, her aunt who wants to make Simran her daughter-in-law in order to get her hands on her wealth and Vijay, who falls for Simran without knowing that she is already engaged, the movie sets us up for a love story along the lines of Kaadhal Mannan or Vijay's own Vaseegara. But the movie switches tracks completely, catching us a little offguard. As it brings in the revolutionary group, it becomes more an action movie than a romance.
But it is the same switch in tracks that proves to be the movie's undoing too. As long as the movie revolves around romance and life in the village, it proceeds smoothly even if predictably. But whenever the movie jumps to science, it is on terribly shaky grounds. Right from Vijay's experiment in the lab(he picks up a small globe out of a beaker, watches it explode along the lines of a Diwali cracker and jumps in joy on having generated a controlled nuclear explosion that is supposed to be tomorrow's source of power!), the movie's take on anything scientific is laughably amateurish and silly.
Vijay appears rather uninterested most of the time and looks like he himself doesn't believe that he is a scientist. He must be really glad Gilli came along soon after to erase this movie from people's minds. Simran too reflects VIjay's disinterest and looks particularly old and washed out in the two recently filmed song sequences. Nasser does a neat job as the group leader. Vivek is wasted in a role that has little scope for comedy. None of Rehman's tunes are real catchy.
