Fox Star Studios and The Next Big Film has come together after the successes of 'Engeyum Eppothum' and 'Raja Rani'. 'Cuckoo' made the right noise from the start, with its promotional teases, trailer and great musical album by Santhosh Narayanan. Written by Raju Murugan, a popular writer of the Ananda Vikatan magazine and a former assistant of N.Lingusamy, will 'Cuckoo' pull our heart-strings and drench us in love ?
Dinesh, who still had the halo of 'Attakathi' around him before this release, had finally released himself from the shackles. Dinesh carries the role with aplomb and it would not be an exaggeration to state that this was one of the finest blind acts, performed in Tamizh cinema. Kamal and Vikram nailed it in 'Rajaparvai' and 'Kasi', respectively and Dinesh follows suit with an earnest performance. His body language reflects the homework he did in preparation for this role. His theater background certainly helped in his dialogue deliveries and expressions. A lifetime performance, indeed ! Debutante Malavika Nair, who has acted in 'Vazhakku En 18/9's Malayalam version 'Black Butterfly' is no less impressive than Dinesh. Her eye movements and the pleasant personality she resonates, are charms of their own. She impresses particularly in the pre-climax and climax portions with brilliant conviction. Welcome to Tamizh cinema, Malavika ! Murugadass's dialogue delivery was spot-on, especially with the comical dialogues and shows that he is an untapped talent. Visually-challenged debutantes, Elango and Sangeetha gave lovely performances as well. The bunch of odd characters around the lead pair have great detailing to their characters which gave them space to leave a mark.
Natraj's costume designing sufficed the need of the script, where all the characters portrayed comes from the lower strata of society. Malavika's attires, gave her a very pleasant look, throughout the film. T.Ramalingam's art designing was in sync with the script. Most of the film was shot in real locations, but the drama troupe ambiance, and props for most the of locations gave the film a very realistic look and color. Shanmugam Velusamy's editing could and should have been tighter. Though the film's story-telling follows a slow pace, there are excessive scenes which lengthens the duration of the film unnecessarily and the continuity slackens a little in the second half. M.K Leen's action choreography was in tune with the need of the script and scenes. P.K Varma, who made name with 'Attakathi' has cranked the camera for 'Cuckoo' as well. He has captured the director's vision very well and many shots spews artistic brilliance ! The close-ups, as well as the railway station and train sequences, are the highlights of the film. The moist and wet color tone used in the film, looks very appealing and further enhances the charm of the sequences and the accompanying background score.
Santhosh Narayanan's music proves that he is a force to reckon with, in Tamizh cinema music. The quality and aesthetic outputs in his albums, are nearly unmatched in recent times. The good show follows with 'Cuckoo' as well. "Enda Mappilai" plays as a background score, in a funny situational scene. "Potta Pulla" portrays the lead hero falling for his heroine and has montages of him trying to impress her and getting more friendlier with her. "Kalyanamam Kalyanam" is the only song which has a typical 'dance-and-song' setup to it. The song had good lighting against a night backdrop and featured the litany of minor character artistes dancing in celebration. The pick of the album, "Manasula Soora" highlights the love episodes of the lead pair and has plenty of cute and sweet montages. "Agasathe" has the reconciliation episodes of the lead pair, picturized using montages. "Kodaiyile Mazhai" was beautifully placed as a situational song in the climax, and really portrayed the heart-wrenching feel, needed for those particular sequences. Santhosh's background score definitely has a magical touch and feel and reminds us some of 'Isaignani' Ilaiyaraaja's brilliant melody scores. Exceptional technical output from Santhosh !
Raju Murugan has iterated that this story of 'Cuckoo' is based on a true story of visually-challenged man he met during his writing days. Keeping that in mind, Raju Murugan must be appreciated for getting all those tiny detailing, in terms of characterizations and plot setting required for such realistic narration. He definitely has a good framing sense, especially with the close-up shots for the right sequences, bearing testimony to it. Raju Murugan's comedy sense is great, especially for his dialogues for Murugadass and Dinesh. Playing as himself, Raju Murugan's narrator role does not leave much impact on the script and his own character suffers some continuity issues, in terms of screen timing. Raju Murugan has been sincere to his script by not incorporating unwanted commercial elements into it, but the screenplay suffers due to a long running duration. Also, instead of being emotional and sensitive, the script goes highly melodramatic and sentimental, especially in the climax, which reminds us of the yesteryear tearjerkers of Tamizh cinema. The scenes are structured in such a manner, where explicit sentimental and tear-jerking scenes are arranged one after another to invoke sympathy upon the lead pair. Nevertheless, Raju Murugan has handled a touching love story of a visually-challenged pair with deft. A better screenplay handling would have yielded much better results.
'Cuckoo' - Love is Blind !
Ratings: 3/5 STARS
BY:TAMIL
M.Sasikumar, who had a decent score at the box-office with his last 'Sundarapandian', is back once again with the same pair in Lakshmi Menon, and more 'importantly' back in his home turf, Madurai. Directed by a former associate of Boopathy Pandian, Muthaiya has played it safe by scripting a story based on what he and the lead artistes are comfortable with. With Madurai as backdrop, its inevitable to expect plenty of bloodshed and violence. But were they all justified ?
Starting off with the M.Sasikumar. We have seen him before as a Madurai youth, so there's nothing refreshing here, in terms of performance and characteristics. He has been portrayed as the quintessential rough-and-tough, machoisme-filled Madurai rogue. His comedy timing is getting better and better and he has improved a lot in terms of being comfortable with dance and action sequences. Not bad, but there's nothing much better, either. Lakshmi Menon has an inconsequential role, who just comes in like a typical Madurai girl-next-door. It has been the umpteenth time Saranya Ponvannan played an emotional, rural mother and she just breezes through her role. There's nothing much for the character artistes such as Rama Prabha, Vaijayanthi, Lal, Rajasimman, Gnanasambandhan, Namo Narayanan, Murugadass, Saravana Sakthi, and etc to perform, but the particular guy among a group of friends, who dons the role of 'Pappu' evokes some laughter with his dialogue delivery.
The technical department's work just passes muster. Natraj's costume designing was apt, as each artistes looked the characters they played, very much, and evidently showed the various social strata displayed in the film. Dhilip Subbarayan must be commended for choreographing action sequences which suits M.Sasikumar's personality and style. The opening scenes, though very much morbid in nature, was somewhat, stylish. Suresh Kallery's art direction sufficed the need of the script. The props for each situations and locations looked perfect and any exacerbation was toned down. Gopi Krishna could have done a lot better, especially with the length of the film. His editing for song sequences were smooth, though nothing new in treatment. Mahesh Muthuswami's cinematography was sadly, only functional and the man's true potential has been not exploited. The opening night chase sequence was well shot, but apart from that, nothing else sticks to our mind.
M.Ghibran, has tried to be innovative again with his musical scores but pithily not a single number is hummable. "Thaattiyare" was used as a simple opening song sequence for the protagonist and only plays for a very short time. "Kaathu Kaathu" has dance choreographer Dinesh and his dance crew dancing for the opening song for the heroine, which has been shot in narrow streets and alleys of a smaller town in Madurai. "Aruvakaaran" is a montage song, picturized on the lead pair, showcasing the blossoming love of the heroine on the hero. "Aatha Un Selai" is a sentimental situational song, also shot with plenty of montages, shown as flashbacks, picturized on the hardships faced by the protagonist and his mother. Also, we do have an uncredited Malaysian song, "Akkamage" by Malaysian artiste Darkkey. The song was picturized on M.Sasikumar, dancing in modern outfits amidst dancers, in the narrow streets. The background score, was lacklustre and uninteresting in terms of quality and output. Do not bring down your quality, M.Ghibran !
Coming to the script and direction, debutante Muthaiya has penned plenty of scenes and sequences, but a good, major portion of them do not serve any purpose at all and is absolutely redundant ! The storyline is wafer-thin and the presentation is very much outdated. If one has to come up with negativeness of the film, the list will be endless, for sure ! Stories based in Madurai, always have had a litany of gory sequences, but what Muthaiya executed in the climax, was mind-numbing and shocking. Also, its pretty lame and archaic to watch the director make use of old Ilaiyaraja classics, excessively. The screenplay wanders without any aim the direction has been pretty poor. M.Sasikumar, should read more into scripts and choose to come out of this Madurai-circle and enhance his repertoire. And for Muthaiya, please do keep up to date with the tastes and mindset of present film watchers.
'Kutti Puli' - Doesn't even raise a 'meow' !
Ratings: 1.75/5 STARS
BY:TAMIL
With a chaste Tamizh title to the film, Magilzh Thirumeni has changed tracks from the soft romantic, 'Mundhinam Parthene' to this action-packed thriller. The former assistant of Gautham Vasudev Menon has lots to prove with this new attempt on a different genre than his previous work. Arun Vijay is coming back to screens after a two-year absence, with his home production 'Maanja Velu'. This film is produced by the same firm as well and Arun Vijay needs a solid hit to cement himself as a saleable actor in Tamizh cinema.
Arun Vijay, has put in a sincere and honest effort in his role as the private vehicle driver Selva. His buff body was apt for this action packed role and he pulled off the stunts scenes effortlessly. His body language and restrained emotions was very life-like. Not to forget, a decent dialogue delivery, in sync with the characterization warrants him a good dosage of appreciation. Wishing him luck for serious success, which has been eluding him for a very long time. Mamta Mohandass makes a comeback after three years after 'Guru En Aalu'. This is her first Tamizh film post-marriage and she was the perfect foil for Arun Vijay's protagonist role. The chirpy and bubbly personality is a fresh breathe of air, in this otherwise dark film. Rakul Preet Singh, a former finalist of Miss India pageant makes her splash as an actress through this film, and though she was okay, her character was not properly exploited, hence limiting her histrionics skills. Murugadass and the other bunch of friends roles provides some laughter here and there. But the real scene stealers are the antagonists artistes, Maha Gandhi and Vamsi Krishna. Both of them were menacing and gritty with their performances with their brooding screen presence and non-exaggerated expressions. Kudos to both of them!
The team comprises of technicians who knows their work well and the film has some decent efforts. Costumes were apt and perfect for the roles, not being too flashy and tacky with Ganesh doing for Arun and Deepali Noor for both the ladies. Mohana Mahendiran used proper props to complement the scenes, which were shot mostly in real locations. Praveen K.L and Srikanth N.B's editing had fast-cuts and the movie moves in rapid pace with the duration slightly more than two hours. Thaman's music was simple with only two songs making it into the film. "Kelamale" was shot in a breezy manner with only a single location with various angles and simple choreography by Nagendra Prasad. "Poonthamalli" is a typical dance number and had fast movements by Noble with the addition of Debi Dutta as the 'item' girl. Thaman should improve more on his re-recording in order to avoid the 'heard-before' feel. 'Anal' Arasu has choreographed simple and neat action sequences and the blows delivered looked very real especially the back alley fight featuring Arun Vijay and Aruldass and also the climax fight scene in a factory warehouse. Sukumar's camera work was efficient with the well-shot night effect sequences, heavily used in the second half and the tone used which was apt for the script.
The script was concise and intelligently written, which is a welcome relief among the glut of nonsensical crass commercial flicks churned out these days. The intelligence does not stop only in the twists and turns but also continues in the form of light and subtle humor of the characters. The innocence of the protagonists friends, the quirkiness of the protagonist, the stubborn-yet naive heroine and even the antagonists had subtle humors to their characters which is a refreshing thing to watch. Magilzh has etched out each characters well and established them with correct dialogues and mannerisms which doesn't give them a caricature-kind of feel. The romance scenes between the lead pair is quirky, cheeky and mature and guess its the rubbing off of the charm of Magilzh's mentor. The best aspect of 'Thadaiyara Thakka's' script is the twists and turns which is shown in the second half especially. It keeps the audience guessing and waiting for 'the moment'. But the same factor is the minus point of the film as well. The amount of twists and turns are plenty and they are thrown to the audience at a rapid pace which actually makes the audience to be unsettled and confused. The second half takes a dip in pace but overall it was a decent effort of intelligent writing from the director.
'Thadaiyara Thakka' has a decent script, good action scenes, life-like characters and neat performances from the artistes. If the second half was polished with a neater screenplay, the movie would have been even better.
Ratings: 2.5/5 STARS
BY:TAMIL
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