Bharathiraja, the man who revolutionized village-genre in Tamizh cinema, is back in the limelight after a 5-year hiatus from his last, a brilliantly-themed 'Bommalaattam'. 'Annakodiyum Kodiveeranum' has the premise of Bharathiraja's forte, and it made a big noise with the launch and the consecutive cast-changes. Parthiban, Ameer, Iniya, all made their names checked and then dropped for reasons, known only to them and the director. The film saw the daylight with a newcomer, as the protagonist and Karthika Nair, doing her second film in Tamizh after 'Ko'. So, does Bharathiraja enthrall us with his village-themed film, without losing the sensitivities of current film-making styles ?
Lakshman Narayan, makes his debut in Tamizh cinema. As the gullible and innocent young village chap, he tries his best to be comfortable and confident with his first outing. But a lot of improvement is definitely needed, if Lakshman thinks of pursuing his career as an artiste. Karthika Nair, carries her role much better, thanks to her experiences (and possible tips from her veteran mother, Radha). She tried her best to shed her urban body language, and has succeeded to some extent, especially in the second half. Some bold scenes are thrown out in the second half, and Karthika has handled it quite well. Manoj Bharathiraja was the real scene stealer, with his willy and funny antagonistic role ! His expressions, dialogue delivery and voice modulation, brought out the best in him, in the best-written role of the film. The rest of the cast such as Manojkumar, Rama Prabha, Meenal, Subiksha, Angusamy Sundaramahalinga Thevar, Vairamala, Veerasingam, Malaysia Sivaganesh and etc had little screen space, but fails to leave any significant mark in the film.
Shankar's costume department delivered an apt output, but more detailing could have gone into Karthika Nair's make-up. Its pretty much unconvincing to see a 'smooth' and 'refined' looking dame, as a rustic village girl ! Do village girls actually have such perfect make-up touches ?? 'Super' Subbarayan's stunt choreography was done neatly, keeping in mind the abilities and limitations of the two important male leads. Palanivel's editing kept the film to a tolerable pace and duration, for a village subject. His montage portions could have been more smoother during the transitions. Salai Sahadevan's cinematography was adequate and functional.
G.V Prakash Kumar handles the soundtrack of the film and has delivered quite a few numbers here. "Kolavalai Edungada" is the opening credits track and has a few montages, showcasing some village festivals shot. "Aavaram Kaattukulle" is the first love melody of the film and was shot on the lead pair, romancing playfully each other in the village setting, with a few montages thrown into. "Porale" is an emotional, situational song shot on the three main characters of the film, and appears during a critical point of the script, with some dramatized weather effects, utilized for the song. "Pinnaaru" is a bit-song, which highlights the lead pair reminiscing each other during their separated lives. "Pothivachaa" also follows the same track with some more montages, but with a pleasant mode instead. "Nariga" is a conventional village duet song, shot on the lead pair, in a simple village house set, with elaborate village costumes for the lead pair. "Anname" and "Usure Uruvi" are two situational bit-songs, appearing during crucial climax portions. The background score of the film is handled by the Sabesh-Murali duo, and they leave their mark in the film, with re-recordings of their own touch, instead of mimicking G.V Prakash's songs.
Though Bharathiraja was the pioneer for village-based films in Tamizh cinema, times have drastically changed. Though rural themed films are welcomed, the style and presentation of the current generation directors are way different than what Bharathiraja has done with his latest depiction. Especially when you have watched path-breaking films such as 'Paruthi Veeran' and 'Aadukalam'. The nativity and authenticity were well brough out, but the story telling is not compelling and has a deja-vu feel to it. The script has a good resemblance to the director's classic '16 Vayadhinile', in terms of characterization and plot setting. The director has still tried to instill some 'bold' elements into the script, which comes in the second half. But its not enough for an actual film-lover to be hooked up with the film. The themes and issues handled in the film is certainly not topical, with old school framing and sequence setting and if it wasn't for the performance of Manoj, the film would have fallen flat. Worse still, its appalling and highly unfathomable to have Karthika portrayed as a prepubescent girl ! The emotional content is too shallow and the script is filled with too much of mushy and melodramatic moments. R.Rose Mugilan's dialogues, were very much in-tune with the milieu, the best lines were reserved for Manoj.
'Annakodiyum Kodiveeranum' - Archaically outdated and wrongly treated !
Ratings: 1.75/5 STARS
BY:TAMIL
Thangar Bachan, whose films are touching tales of human relationships, especially among rural and township folks, is back after a 5-year hiatus, with his 'Ammavin Kaipesi', an adaptation of his literary work. Thangar promised an emotional and heart-wrenching story which would appeal to all sections of people, especially to the ladies. With a young lead pair in Shanthanoo and Iniya, will Thangar deliver a good, solid film like his 'Azhagi' and 'Solla Marandha Kadhai' ?
Inserting Shanthanoo in this type of film, is an interesting casting by Thangar. It is different to watch Shanthanoo play a typical, rural boy. He has delivered a clean and neat performance. The body language and dialogue deliveries are better than his previous films, and shows that this chap can act in serious roles, too. Kudos for his earnestness-filled portrayal ! Iniya was fine, but she is in a danger of being typecast as a village girl, if she chooses to do more such films, like this. Thangar essays a role as well, and his' was the most toughest to perform since it involves a variety of expressions and intense emotions. Meenal is adequate but she too is in the danger zone of being typecast as suitable for only village woman roles. The rest of the cast such as Revathi, Azhagam Perumal, Nagineedu, NSK Senthil Kumar and etc are okay.
Technically, this film has nothing much to offer or to be spoken about. N.K Rahul and Loghu's art work was simple and and sufficient enough for the script, especially with the interiors of houses. Karthi's stunt choreography was natural. Kishore T.E's editing could have been better, because the film suffers due to the very slow pace. Thangar Bachan himself has wielded the camera, and his cinematography is functional with some good frames in the initial portions. Rohit Kulkarni's music was sadly, uninspiring and boring. The "Thalai Mudhal Paadham Varai" theme music was shot in a orchard with glamour girls and folk dancers doing some dancing jigs. "Enna Senji Pore" is a romantic number shot on the lead pair romancing alone in the house, with some shots taken in outdoors such as in lakes and caves. "Nenjil Eno" is a situational song, shot in montage sequences, whereas "Podu Thillaale" was shot on Thangar and Meenal, happily dancing at hill side, and around their village, which unfortunately is a torture to watch. The background score is just pass-worthy.
Thangar Bachan has made this film which might appeal to the ladies, but its too melodramatic and the story telling looks pretty outdated. The narration is very slow, which tests the patience of viewers and to have lots of sentimental and melodramatic moments constantly, will do no good for the film. The screenplay has no proper continuity and leaves some big gaps, which was not looked into and rectified. Moreover, the revealing of some suspense elements earlier in the film, spoils the mood of the viewers. Thangar's motive of capturing the rural nativity and portraying a story around that factor can be appreciated, but without a strong and powerful script, the film will suffer a lot, and that too a one, which has minimal commercial elements. The emotional outbursts, especially of Revathi's and Iniya's were handled and portrayed well. The literary work could have been a better product compared to this film version, but the presentation of the film is definitely out of tune and will not appeal to the current cinema-goers.
'Ammavin Kaipesi' - certainly no match for Thangar's previous films. Hope he makes amends with his long-in-the-making, 'Kalavaadiya Pozhudhugal'.
Ratings: 2/5 STARS
BY:TAMIL
.jpg)