Director Suseenthiran, who had a fantastic 2013 with two solid film in 'Aadhalaal Kaadhal Seiveer' and 'Paandiya Naadu' is back once again and its a return to sports-based theme. 'Jeeva' is produced by himself, together with cinematographer Madhie and art director Rajeevan, under the newly formed Vennila Kabadi Team Productions. Co-producing the film is The Next Big Films production unit, alongside actor Arya under his own production company The Show People. Distribution is handled by Arya's company together with Vishal's Vishal Film Factory. Being a project entirely funded and distributed by industry friends, can Suseenthiran strike a hat-trick ?
After the success of 'Mundasupatti', Vishnu Vishal has once again done it in 'Jeeva' with a very clean and neat performance. Being a real-life cricketer himself, Vishnu Vishal performed very naturally and with consummate ease. His diction is good and he is showing more improvement with his dialogue deliveries and modulation. Job, well done ! Sri Divya has substance in her performance and she manages to show a gamut of expressions on her face. Her lip-sync, too is spot on and with a very pretty and pleasing personality, hope she gets more good roles to explore her acting credentials. Soori's character is something unnecessary for the script, though we don't mind the few occasional chuckles, he creates with his sharp dialogue deliveries and apt sense of comic timing. The film has plenty of supporting artistes such as Lakshman Narayan (another real-life cricketer), Charlie, Harish Uthaman, Vinoth Kishan, producer T.Siva, G.Marimuthu, V.Madhusudhan Rao, Akhila, Monika, Bava Letchumanan, Muthuraman, Mahendran and etc. Nearly all of them had good acting scope and made good use of their screen timing. Co-producer and distributor Arya makes a cameo appearance towards the end of the film.
C.Harikesh handles the costume designing and his work sufficed the needs of the script. The changeover for Sri Divya from a school-going girl to a college student, deserves mention. All artistes looked their part and the costumes made everyone look original and authentic. 'Anl' Arasu's action choreography was minimal and functional. G.C Anandhan's art direction gave the film a very realistic look and ambiance. The set properties, especially for the 80's and 90's era deserves special mention. The detailing in the middle-class homes depicted in the film, is another highlight. Editing is handled by Ruben, and there's nothing much to complain about his work. The cricket game shots, were well edited, which keeps the momentum of the scene from not depreciating. Cinematographer Madhie's work is enthralling and the color tone and the various style of lighting employed for different scenes, elevated the mood of the film and gels well with Suseenthiran's presentation. Madhie has tried his best to bring out the grandeur and awe-inspiring moments of an actual cricket matches and he succeeds to a certain extent. The angles he employed for the tense moments in the cricket games, were no less brilliant and is a visual treat !
D.Imman's compositions gels very well with the film and is almost complementary to Suseenthiran's narration. "Ovvondrai Thirudugirai" is a beautiful number written by Vairamuthu and is a duet number shot on the lead pair, with many montages of their teenage lovey-dovey moments. The lovely blue tone employed by Madhie for this track, brought out the romantic mood of the song, very well. "Oru Rosa" is a booze number, which had popular cinematographer cum actor Natarajan Subramaniam @ Natty, in an cameo appearance. The typical dim lighting from Madhie and the wine shop and bar set work put by G.C Anandhan fits the bill. "Netru Naan" is a wonderful, melodious bit-song, shot on Vishnu and Sri Divya. It depicts the moment the protagonist sets his eyes upon his lady, after disengaging himself from her for a couple of years. Sri Divya's looks complemented the song's lyric, very well ! "Oruthi Mele" is a charming, naughty number shot on the lead pair, surrounded by some of the supporting cast, such as Soori and Lakshman Narayan. The college campus ambiance, with an urbane look and modernist art work by G.C Anandhan, gave the song a lively look, alongside the colorful dancers. "Enge Ponai" is a situational pathos song, which comes just before the climax. D.Imman's background score was mellow and very soothing for the ears. He has toned down his usual melodramatic scores, and the move worked very beautifully in 'Jeeva'. Hoping to hear more such lovely background score from him !
The base of Suseenthiran's story is a typical underdog-triumphing-in-the-end mould, which we would seen for umpteenth number of times. But the treatment of the theme and the issue of casteism or a form of social stratification based on caste system, is very well explored and narrated here. Suseenthiran does not shy to point out the system which plagues the Tamil Nadu cricketing scenario and how only a select group of players from a specific community, makes the cut for the team selection and how others are discarded, just like that. Santhosh's dialogue writing does the work for Suseenthiran with very simple, straight-forward, earthy but contemporary dialogues. The confrontational scene in the second half, has some of the stronger worded dialogues and its the real highlight of the film. Not to forget, some of Soori's one-liners too deserves a praise ! Suseenthiran and Arun Balaji's screenplay has a very smooth flow, apart from the occasional songs, which were minor bumps. The precise allocation of timing for romance, comedy, sentiment, bromance, and pathos quotients in the screenplay, keeps the film engaging. Suseenthiran's direction deserves praise, for his astute handling of his characters and the script's subject. There's no preachy moments, yet the message was conveyed in a very subtle manner and its always nice to have an underdog overcoming the improbable hurdles, lying in front of him. Its definitely a hat-trick for Suseenthiran !
'Jeeva' - A simple, honest and soulful sports drama !
Ratings: 3/5 STARS
BY:TAMIL
'Paandiya Naadu' raised eyebrows and piqued the interest of Tamizh audience when it was launched. Suseenthiran join hands with Vishal for the very first time. An intriguing pairing this is, due to their current form in Tamizh film industry. The former is basking in the glories with the critically-acclaimed 'Aadhalaal Kaadhal Seiveer' and the former, reeling in consecutive flops and poor showing of films. Also, Vishal has decided to take things into his own hands by flaunting a new film production company (Vishal Film Factory) and churning out this flick as its maiden debut. Throw in, the best of technicians and Bharathiraja, this is a very interesting concoction indeed. Can Susee redeem Vishal's flagging career ?
'Paandiya Naadu' is certainly a throwback for Vishal to his 'Sandaikozhi' and 'Thimiru' days. Coincidentally, both those films were based in Madurai and its third time lucky for Vishal, because this performance is easily the best from him thus far. Though 'Avan Ivan' had plenty of struggle and pain, Vishal makes us fall for him and root for his success. He is totally convincing as the shy and mild-mannered Sivakumar. Its a refreshing change to see him shed his action-hero image and immerse into a believable and endearing character. A very well written role and neatly portrayed by Vishal, especially with the transformation in the second half, and the way he carried the stammering issues. The legend, Bharathiraja steals the show, with his terrific performance, and its a real shame that only a handful of directors in Tamizh cinema, had actually utilized his acting capabilities. The veteran just oozes class and moves us with his emotional outbursts and a touching performance in the end. Take a bow, sir ! Though Lakshmi Menon was adequate and convincing in her role, her acting scope was very much limited in the screen timing. Antagonist, Sharath Lohithashwa looks menacing and powerful, and is just the perfect villain for this genre of films. A fantastic portrayal by the Kannada actor. Harish Uthaman, comes close as well, with very commanding screen presence and looks. Soori makes his mark, wherever he was given space and Vikranth does a energy and rage-filled cameo appearance. The rest of the cast such as Somasundaram, literateur Jayabalan, Muthuraman, R.S Amudheswar, Thulasi, Keerthi Shetty, Priya, Soumya Satish, Bava Lakshmanan, the cute 'Baby' Rakshana and etc were befitting of their neatly presented roles.
Vasugi Bhaskar has done a terrific job with Vishal's costume designing, as he looks like a Madurai chap, perfectly ! Malini and Nikila are in charge of Lakshmi Menon's and their work was not bad, either. Rajeevan has handled the production design very well and all the landscape and plot setting looked very apt and authentic. The prop detailing was intricate and very well-researched. The opening sequences are a highlight and also the climax fight sequences, which had very good detailing, in terms of set properties. Anthony's editing was as usual, sharp and precise. Some trimming in the first half would have made wonders to this film, but the feel-good moments will have to be sacrificed, which could deter the reception of general, family audiences. 'Anal' Arasu's action choreography is simply superb, as it is very original and realistically shot. The climax fight sequence, where Vishal uses whatever props he can reach, was very well executed. Action sequences are definitely big highlights of the film ! The backbone of the film, is definitely Madhie's exceptional cinematography work. He made use of the 4K resolution camera very well, and each frame and camera movements, were well measured and carefully shot. The golden brown color tone maintained throughout the film, brings the nativity feel to the script. Virudhu Nagar of Madurai has been shot beautifully and 'Paandiya Naadu' will certainly be one of Madhie's best works, so far, especially with the fantastically shot, action blocks.
D.Imman is certainly having the time of his life, and he rocks again with brilliant musical score for this film, as well. The "Theme Music" was used for the opening credits and also used sparingly as background score. The thumping score, certainly eleveates the mood of the script. "Daiyare Daiyare" is an enjoyable opening song, which had a colorful, funeral 'celebration' as its backdrop. The camera movements and angles are the highlights of this song's picturization. "Yelay Yelay" was beautifully shot inside the ancient temples of Madurai, on Vishal and Lakshmi Menon, and had brilliant natural lighting and color tone, which brought out the earthy essence of the song. The pick of the lot, "Othakadai Othakadai" was shot on Vikranth, Soori and Vishal and was mostly shot in the narrow back-lanes and alleyways of Virudhunagar, with few montages interspersed. "Veri Konda Puli" is a situational song and had plenty of montage sequences, depicting the hero in his new 'journey'. "Fy Fy Kalachify" is a typical dance number, shot on Vishal and Lakshmi Menon, on barren fields, with minimal props. D.Imman, scores big time with the background score as well, with stirring and emotional arrangements. Clean hit, D.Imman !
When it comes to script novelty, there's nothing path-breaking here, since Suseenthiran has taken the beaten-to-death revenge story as his core content. But the treatment and screenplay, developed along with G.K Gopinath, Arun Balaji, Nagarajan and Vijay Anand, wins our attention and interest. The screenplay is packed with well-written, thrilling and suspenseful moment, especially in the second half, and keeps us on the edge of our seats. Suseenthiran should be really applauded for proving that one can still make a decent and innovative new script, based on as-old-as-the-hills type of theme lines. The unpredictability factor, coupled with some amusing scenes in the first half, entertains us pretty much, and Suseenthiran proves that he is a master in handling his artistes and bringing the best effort from them, with perfect conviction. Dialogues, co-written with Suseenthiran's pal, writer Bhaskar Sakthi are a scream in certain scenes and has a no-nonsense approach, with the serious sequences. Another plus point of the film, is the avoidance of over-glorifying of the protagonist and the shelving of needless heroism and a special thank you to Suseenthiran for not taking the audience for granted, by avoiding illogical scenes. The travel in the screenplay is nearly free of jerkiness, except for the needless song, late in the second half, which sticks out like a sore thumb.
'Paandiya Naadu' - Suseenthiran saves Vishal's career and enhances his directorial repertoire. They hit the bull's eye !
Ratings: 3.25/5 STARS
BY:TAMIL
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Suseenthiran, who made a promising start with 'Vennila Kabbadi Kuzhu' and followed up with successful films such as 'Naan Mahaan Alla' and 'Azhagarsamiyin Kudhirai', took a beating with his last project, the dreadful 'Rajapattai'. After a two year hiatus, he is back in his forte and has churned out a juvenile love story, with a relatively unknown and young cast and backed by a good script. Will 'Aadhalaal Kadhal Seiveer', be a springboard again for Suseenthiran ?
Santhosh Ramesh makes his debut as a lead actor, and he fits the role of an immature and hasty teenager. He has plenty of scope to improve on every facets of film acting. Timing is a very important aspect which he should improve a lot, if he wishes to pursue acting. Manisha Yadav Suresh performs well as the vulnerable and joyful youngster. Her role seems to be like an extension of her debut role she carried out in 'Vazhakku En 18/9. Better directors and stronger scripts and character writing could bring out better performances from her. The two character artistes, Jayaprakash and Thulasi as the parents of the heroine, were absolutely terrific in their performances as the distraught parents. These artistes brings out the best in them and made use of the scope offered by Suseenthiran, fantastically. It is almost unbelievable to believe that they are actually just artistes and are acting ! Hats-off to both of them. Poornima Bhagyaraj had a strong role as well but had quite limited time and screen presence in this film. Arjun brings a few chuckle as the 'Godfather' of love among the bunch of friends. The rest of the cast such as Ramnath Shetty, Archana Raha, Srinidhi Vasudevan, Anburaj and etc are apt.
D.Venkatesh's costume designing and H.K Suriya Prakash's make-up was very functional and apt, and all the characters looked very natural and realistic. Anal Arasu's action choreography was very realistic as well, since there were no actual fights and stunt sequences. S.Jayachandran's art direction expertise, sufficed the needs of the script. The props of the interiors of homes, were well noticed and arranged, since most of the film are shot in real locations. Anthony's editing was flawless and sharp, as the duration of the film is very crisp, keeping the proceedings neat and tidy. Soorya A.R's cinematography is functional and has captured the pertinent moments very well, with good usage of close-ups.
Yuvan Shankar Raja delivered good numbers in the film. "Mella Sirithal" is the opening track and was shot like a music video, on Marina beach, focusing on the bunch of youngsters involved in the script, with interspersing montages of various couples falling in love. "Alaipaayum" is another montage song, shot on the lead pair and their love escapades, in their daily lives. "Thappu Thanda" is a sensuous song, shot on the lead pair, in a set resembling a hotel room, which was very well designed by S.Jayachandran, with apt color palette, suiting the song. "Nenje Kel" and "Kaadhale" are situational bit-songs, used appropriately, while the final number, "Aaraaro" is a heart-wrenching one, which was shot on a small child in a foster home. The delicate and moments of the child was very well captured by the technical crew of the film. Yuvan sizzles in the background score department as well, and has delivered one of his best works in recent times. The score complements the needs and moods of the script, perfectly.
Suseenthiran has written this story based on an idea, pitched by Lenin Bharathi, who has been credited in the film. The screenplay has been well structured by a team of writers, including Suseenthiran himself, besides Nagarajan and Vijaya Ananth. The first half is a smooth and light-hearted delight, with funny and lively moments, among the bunch of friends portrayed in the film, as well as the blossoming love episode of the lead pair. There are a myriad of characters involved and kudos to Suseenthiran for having a keen eye of detail, and presenting them in an realistic and unforced manner. Also, Suseenthiran must be appreciated alongside C.Clyton for the simple, natural and realistic dialogues, be it for any episode in the film and any characters involved. It takes a lot of hard-work and proper research and some good maturity to handle such delicate but actual matters. What particularly strikes the most, is the nonchalant manner in which the love is portrayed between the lead pair without any gimmicks nor purposely written scene to enforce the love. It takes guts and lots of conviction to deliver such simple episodes, perfectly on the screen and Suseenthiran has done it like an ace ! The only minus one can come up, is the less sizzling and powerful emotional connect between the lead pair. Though juveniles are expected to be like that, a more powerful portrayal could have done more justice to the script. But still, kudos to Suseenthiran for the climax, which leaves a lump in the hearts of all viewers.
'Aadhalaal Kadhal Seiveer' - A brilliant comeback from Suseenthiran ! Concisely and conscientiously, done.
Ratings: 3.25/5 STARS
BY:TAMIL
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