After the rather lukewarm 'Settai', R.Kannan, a former associate of Mani Ratnam is back with his own script and judging from the cast, he has given more importance to comedy, this time. 'Oru Oorula Rendu Raja' has the potential to be a safe bet, especially with D.Imman's music and a good cast, but can R.Kannan nail it after continuous flops ?
What's refreshing with this film is that the hero and heroine alone doesn't hog all the limelight. The script gives equal amount of space, time and importance to all three main leads, which are Vemal, Soori and Priya Anand. For Vemal and Soori, this script does not provide much challenge for their acting capabilities and both of them breezed through their roles. Vemal looks continually the same for most of his films and its Soori who actually shoulders the film, among the two "kings". His dialogue delivery and witty sense of humor, together with a good timing sense provides some laughter, though the comedy tracks are below average. Priya Anand is the refreshing element of the film, and she gets a meatier role than what conventional Tamizh heroines get to do. She's at her glam best thus far in the songs and looks sweet during the remaining. Nassar and Anupama Kumar were cast as the antagonists in which, the former was completely wasted and the latter was a total miscast. Thambi Ramaiah, Singamuthu, Narendhra Khatari, Bala Singh, E.Ramdas, Kalairani, Kamala Krishnasamy, Sasha and etc make up the rest of the cast, with a special appearance from Vishakha Singh, who did an important role.
Costume designing by Chaitanya Rao sufficed the needs of the script, especially when the bulk of the story is set in a single day. Particular importance was given to Priya Anand, who looked gorgeous in the songs. Action choreography by Silva, who also played a minor role in the film, was decent and was more situational, rather than purposeful. His choreography matched the physical attributes of Vemal and Soori. N.Subbu's art direction was neat and the set properties for all the live locations matched the scenario. The rundown godown featuring in the climax scene, was the best of his work. Suriya's editing was crisp and he made sure the film doesn't drag for more than 2 hours plus. Other than that, there's no gimmicks in the editing pattern of Suriya's. Cinematography by P.G Muthiah adds more color to the script and there's plenty of aerial shots, using the helicam, but the necessity of it is a different question. The picturization of songs were particularly good and pleasing to the eyes.
D.Imman adds strength to the film with his musical score. The songs are good and provides some entertainment to us. "Oru Oorula Rendu Raja" is the opening song shot on Vemal and Soori. It has the typical rural locations such as the village streets, paddy fields and etc and we get to see Soori doing some serious dancing for the first time ! "Odum Rayile" was picturized on Vemal and Priya Anand and was entirely shot in a railway station. It has a mixture of situational moments, as well as some dream sequence, but the entire song has the railway station and the train as the main setting. "Sundari Penne" is the best picturized song, which was shot on Priya Anand and Vishakha Singh. The rain soaked atmosphere reminds us of Mani Ratnam's heroine intro songs and Shreya Ghoshal's voice is just so wonderful to listen to ! "Kukkuru Kukkuru", a song sung by actress Lakshmi Menon was shot as a highway song and featured Iniya in a special appearance. The girl dances well and provides little bit of glamour effect of her own and is ably supported by Vemal and Soori. "Mazhakaathe" is a typical dream song shot on Vemal and Priya Anand, in picturesque hill stations. Priya Anand appears in glamorous costumes, probably for the first time in Tamizh films and she is definitely an eye-candy ! D.Imman's background score adds more depth to the emotional scenes and certainly lifts up many moments in the film.
R.Kannan handles the story, screenplay, dialogues and direction for 'Oru Oorula Rendu Raja' and he has taken up the issue of noise pollution and the malpractice acts of big manufacturers and how the laborers are victims of circumstances of such acts. The script has been given a road-movie like treatment with plenty of travelling and constant location changes. Though the film was promoted as a comedy film with some social messages in it, the humor quotient is low in substance and its pretty much lukewarm. And some of them are crude in taste, which is not so family & kid friendly ! Soori does make you smile, but those scenes are far and few in between, whereas the social messages were not smoothly infused into the screenplay. The post-climax scenes were jarring and looks forcefully thrust into the story, just to give the film an happy-ending. End of the day, this film is just a basic commercial fare and is primarily targeted at the B & C audiences.
'Oru Oorula Rendu Raja' - Two kings, one queen and the audience ends up as the Jokers !
Ratings: 2.25/5 STARS
BY:TAMIL
'Manjapai' gained some prominence with the audience due to the involvement of two directors, behind the production of this film. N.Lingusamy with his brother N.Subash Chandra Bose of Thirrupathi Brothers has jointly produced this flick with A.Sargunam of 'Kalavaani' fame. Directed by debutante N.Ragavan, a former assistant of A.Sargunam, it promises to throw light on the plight of grandparents, especially those who are from the rural background. Can 'Manjapai' struck a chord with the audiences ?
Vemal, who is so accustomed to doing such simple roles, sleepwalks into the film. He has done it for the umpteenth time. He is adequate in such roles, but how he survives by doing such films alone, is something inexplicable. Lakshmi Menon plays the quintessential Tamizh heroine of such small budget films. She has less impact and of no relevance to the script, apart from being present in the songs and the build-up scenes to the songs. The axis of the script is Rajkiran and the veteran simply breezes through the film. The makers have tried to bring out the sort of performance he gave in Cheran's 'Thavamai Thavamirundhu' but too much of artificiality kills of those intentions, for sure. Rajkiran understood the nuances of his character's aspects and brought out the right emotions, especially for the climax portions. The rest of the cast such as Devipriya, Ashwin Raja and etc has very little screen timing and even little importance to the story.
Natraj handle's the costume department, and he has done a simple and neat job. Lakshmi Menon looks pleasant, especially in the sarees. Action choreography has been done by Dhilip Subbarayan and his work sufficed the need of the director. Nothing extraordinary nor over-the-top. The mini fight sequences involving Rajkiran, was well choreographed and matched Rajkiran's personality. A.R Mohan's art direction was simple, and the most notable work was the protagonist's posh apartment interiors, as well as the office set-up. Editing work has been credited to a debutante, Deva. There are not gimmicks from the editing table, and its just plain simple. The film's duration has been kept to less than 2 hours, which is a welcome relief. Cinematography has been handled by Masani, and apart from the wide angles for the initial rural portions and for the songs, there's nothing to speak about. Pedestrian output !
N.R Raghunanthan's musical score is average and some songs might be of liking to some folks. "Aagasa Nilavuthaan" is the opening introductory song and had plenty of montages highlighting the grandpa-grandson relationship. The song had plenty of rural locations, such as the fields, lakes and etc. "Sattena" is a dream song sequence, which had Vemal doing the routine dance, but alongside dancers of old age. "Ayyo Ayyo" is a montage song and highlights the comedic antics of Rajkiran, who tries to acclimatize with Chennai and the metropolitan lifestyle. "Paathu Paathu" is the typical folk dance number, and is shot on the lead pair with the extra dancers doing the choreographed moves, on a lake-based location. "Anbuthaan" is a situational bit song, shot on all the main characters of the film. The background score by N.R Raghunanthan, is a tad too heavy and melodramatic for contemporary films and sounds forced.
Debutante N.Ragavan has tried to come up with a K.Bhagyaraj-type family sentiment film, which has lots of mushy and emotionally wrought dialogues. The film is too formulaic and there's nothing organic about the proceedings of the screenplay. The sentimental values and the supposedly feel-good factor is forced upon the viewers. Some sequences are just too hard to digest and do make us to wonder, if at all N.Ragavan is targeting the cinema-going folks of the 70's & 80's era ! Well, the intention and message is of noble value, but the script is just woeful, where N.Ragavan tries to evoke sympathies from us by inserting needless dramatic moments, which does not add any value to the overall script. Old folks of the rural side might be out of touch with the globalized world we are accustomed to, but to condescend to the extent of what N.Ragavan did, is indigestible ! The problem highlighted in the film, is something which we can relate to, but it must be told in an convincing manner.
'Manjapai' - The film opened and ended with the absolutely perfect, "Duh Moments" !
Ratings: 2.25/5 STARS
BY:TAMIL
'Pulivaal' started making noise once the promotions kicked-in, and features a double-hero subject as its story. Vemal and Prasanna team up in a film produced by R.Radikaa Sarathkumar and Listin Stephen. G.Marimuthu, who previously did Prasanna's 'Kannum Kannum' makes a comeback as a director. The trailer promised a hodgepodge of elements such as comedy and thriller and etc. Was it worth our time ?
The two male leads play diametrically opposing characters, where Vemal is from the lower-class society, whereas Prasanna belongs to the rich and suave section. As for Vemal, its the umpteenth time he's playing such a character, so there's nothing much extraordinary with his performance. He did what he was expected to do and what he can do. But the changeover from a naive chap to a manipulating impostor is less convincing. Prasanna, scores in his role with a decent performance, especially from the sequences building up to the climax, onward. He's pretty much confident with his role, probably due to his experience, enacting something similar to what he did in 'Muran'. Among the three female leads, its Oviya who has the most impact upon the script. She has upped her ante in the glamour quotient but rarely passes muster in the performance department, though she tried her best to be confident enough in difficult sequences, such as the intimate scenes. Ananya, plays Vemal's pair and is adequate for her role and has her fair share of screen presence. Iniya, plays a less substantial role. Soori and Thambi Ramaiah's comedy portions evoke some chuckles in the beginning, but the humor starts to get tedious as the movie proceeds further, especially with Soori's SMS jokes. Prem Kumar, Swarnamalya and etc dons the peripheral characters needed here and there.
Perumal Selvam has done a neat work with the costumes department, though better work could have been focused on Oviya, since she has glamour quotient in her character. G.C Ananthan's production design sufficed the need of the script, especially with the swanky and posh bungalow of Prasanna's character, along with the office scenarios. Rajasekhar, takes care of the action choreography, and the final climax fight sequence, had very natural and realistic touch in the choreography. The tight angles of the toilet cubicles setting, has been well exploited. Kishore T.E handles the editing department, and his work was just average with his techniques. He could have trimmed the first half to some good extent, due to the excessively unwanted comedy and romance tracks. Bhojan K.Dinesh's cinematography is pretty ordinary as well, and the climax fight was the best shot scene. Better lighting in the some sequences could have elevated the mood of the scenes, further.
N.R Raghunanthan's songs are hummable but acts as mere speed breakers in the film, unfortunately. "Netrum Party" appears as a situational bit song, shot on Prasanna and Prem, in a nightclub setting. "Neelangaraiyil" was shot on Vemal and Ananya and had quite a few locations such as the Athirapally waterfalls, beaches, temples and etc, aided with minimalist props done by G.C Ananthan. "Kichu Kichu" was shot on Prasanna and Oviya, with the usual backup dancers, with some ancient temple setting, as its backdrop. "Naadu Naadu" is a situational song, which appears just before the climax and was shot on Prasanna, with montages of several supermarkets. "Vaazhkai Unnai" appears right during the end credits. The background score is scored by Gopi Sundar and he has utilized N.R Raghunanthan's tunes as the basis of his score. He has tried his best to elevate the intensity of the climax sequence, with his music.
Before dwelling on G.Marimuthu's direction, it is to be noted that 'Pulivaal' is a direct remake of Sameer Thahir's 2011 Malayalam film, 'Chaappa Kurish' starring Vineeth Sreenivasan and Fahadh Faasil. Though Sameer has been credited for the story, the original Malayalam film raised some controversies in reference to the originality of the script. Some of the scripts elements has been lifted from the 2003 Hollywood film, '21 Grams' starring Sean Penn, Naomi Watts and Benicio del Toro, which was written by Guillermo Arriaga and directed by Alejandro González Iñárritu. The trailer of 'Chaappa Kurish' was almost a direct copy of '21 Grams'. Meanwhile, the script has a striking resemblance to the 2009 Korean crime thriller 'Handphone', written by Kim Mi-hyeon and directed by Kim Han-min. Coming to G.Marimuthu's handling of the film, there are quite a few flaws. The director has failed to properly establish the two male leads, which ultimately led to the audience failing to root for, neither of them. We don't sympathize nor empathize with the male leads. The story wanders into no-man's land for the most of the first half and has too much of unnecessary scenes. As mentioned earlier, the director failed to convincingly portray the changeover of characters and the driving force behind such a changeover. What could have been an intense script, turned out to be a damp squib, due to the poor direction.
'Pulivaal' - Below average due to poor handling of the script.
Ratings: 2/5 STARS
BY:TAMIL
'Jannal Oram' marks the comeback of Karu Palaniappan after his below average performance in 'Mandhira Punnagai'. Karu is known for his sensitive portrayal and family friendly milieu, apart from his last project. Backed by some of his favorite artistes, can 'Jannal Oram' bring back the success to Karu Palaniappan, a once-promising script and dialogue writer in Tamizh cinema ?
The film has a big cast of artistes, and everyone has some screen timing to stamp their marks. But unfortunately, the high number of artistes does not add value to the script. That's due to the average performances and lack of emotional content for each artistes to register their capabilities in the minds and hearts of viewers. R.Parthiban, as the rural, middle-aged Casanova, mouths his dialogues fluently in a different accent. Vemal, is pretty much in his comfort zone and gets to romance the heroine in songs and pull off some action sequences. Vidharth leaves a better impression on us, although his characterization was just a mere extension from the protagonist role he did in 'Mynaa', albeit with a twist. Among the ladies, both Poorna and Manisha Yadav have limited acting scope, though the latter had more screen timing. A gang of character artistes such as Ramana, Rajesh, Yuvarani, Ilavarasu, Santhana Bharathi, Sanjay Bharathi, Bala Singh, Sri Ranjani, Singampuli, Krishnamurthy and etc get to do their usual stuffs.
Dhilip Subbarayan's action choreography was apt for Vemal, Vidharth and Parthiban. It was not over the top, but not fiery, as well. Rajeevan's production design complemented the script very much. The rural house setup was apt for the milieu of the script, with relevant props. The village setup too looks very much believable. Simple, but neat work from one of the best ! Saravanaa, could have done better with the editing department. The proceedings in the second half moves at a snail's pace, and some trimming could have increased the tempo of the script. Arbhindu Saaraa, definitely owns the film, through his good cinematography works. The hill stations have been very aptly captured from his lenses and at the same time, Arbhindu maintained a natural look for the whole film, which is very much the style template of Karu Palaniappan's films. His experimentation with different angles or view-points of the bus, is commendable.
Vidyasagar, the trusted aide of Karu Palaniappan, disappoints us with below average song compositions. Though melodious, they don't capture your attention nor the interest, pretty much. "Athili Pathili" is the opening credits song, shot on the lead characters' bus' journey it makes in a day. The hilly terrains and lush greenery is a cool sight for the eyes. "Ennadi Ennadi" also has the bus as the backdrop, but the focus is on the characters this time and Vemal gets to woo Manisha in this song, shot with montages. "Unnai Paarkkama" was shot on Vemal and Manisha Yadav, against the backdrop of Athirappilly waterfalls and its surrounding lush and green forests. "Aasa Vacha" had a village festival backdrop, with apt props by Rajeevan for the production design side. The song also had separate shots of Vemal-Manisha and Sanjay-Poorna, interspersed into it. "Ela Malathoppu" is a situational song, and covered most of the lead characters' dark moments they were facing through. "Aatho Appatho" is a promotional song which was not used in the film. The song had the puppet play shot, as its backdrop. The background score was quite ordinary, for Vidyasagar's standards.
Though Karu Palaniappan has made this film, the script and screenplay does not belong to him, and its the first time Karu has attempted a remake film. 'Jannal Oram' is the official remake of the 2012 Malayalam film, 'Ordinary' which turned out to be a super-hit. The story was written by Sugeeth and screenplay by Nishad K.Koya and Manu Prasad, the makers of the original film. The problem with the film, is that it moves at a leisurely pace and the viewers could not muster what to expect from this film, even from half-way into it ! Karu, slowly introduces us to each characters one by one, and that proceeding had nothing novel in the methodology perspective. The first half was insipid, and the only thing which kept us watching were the dialogues, written by Sugunakumar K.E. There are a few sharp dialogues, atypical of Karu's film dialogues, but they are few and far between. There is an unexpected twist just before the climax, but it was far too late to save the film and was overtly stretched, as well. Karu Palaniappan, should have done more homework in fine tuning the original script, to suit the tastes and pace of a typical, 'good' Tamizh-film. Nevertheless, kudos to Karu for delivering a very clean film, which can be watched by anyone.
'Jannal Oram' - Below average showing from Karu Palaniappan. Where's the guy who made 'Parthiban Kanavu' ?!
Ratings: 2.25/5 STARS
BY:TAMIL
S.Ezhil, who made a mini comeback of sorts with the decent comedy-drama 'Manam Kothi Paravai', is back with another film which has abundance of comedy portions written throughout the script and aided by nearly the same band of artistes, who were present in his last endeavor. Will S.Ezhil strike it back-to-back ?
Vemal, takes up the male lead role and there's nothing contemporary with his portrayal. He has played the village lad role, relentless of times and he repeats it here as well. There are rooms for improvement as always, and he can at least strive to do something different with his dialogue delivery, with these conventional roles. Bindhu Madhavi looks ravishing in her pretty half-sarees, but is a little out-of-place, if you one is to consider her role's as a village belle. She has potential to be deliver better performances, and hopefully, may better scripts knock her doors. Soori has started to come out on his own and has established himself as a lead comedian. His dialogue rendition reminds us of Vadivelu's, especially with the English words. Nevertheless, he still manages to raise some chuckles, albeit in a non-sterling manner. Singampuli is a riot, with his lively antics and spotless dialogue delivery and well accompanied by Chams, as well. The rest of the cast such as Vinu Chakravarthy, Gnanavel, Ravi Maria, Naren, Singamuthu, Vanitha and etc were befitting of the needs of the script.
Vasugi Bhaskar has done a good job, especially with Bindhu's costumes and her sarees and also for Vemal, who looked much presentable. Dhilip Subbarayan's action choreography is just functional, as per demands of the "masala" elements of the script and is well suited for Vemal's image. Sivaraj's production design was neat, especially with the props used for showcasing the interiors of rural homes, as well as for village festival sets. Gopikrishna's editing sufficed the basic needs of the film. Nothing spectacular about it. Sooraj Nallusami's cinematography complements the wants and needs of the director and he has pretty much, achieved the objective of bringing out the essence of a typical Tamizh cinema rural, commercial film.
D.Imman's score uplifts the mood of the film, with above average scores. The pick of the lot is the opening number, "Oru Ore Ore". Picturized on the lead pair on a temple festival backdrop, the song has good props and set work done by Sivaraj. "Ammadi Ammadi" is a sensuous number shot on the lead pair, in various sets of a small, fruit warehouse. Bindhu looked good in the song and the lighting complemented the feel and mood of the song. Sivaraj, once again does a neat and simple job, with the correct placement of fruits and other props, in the song picturization. "Nilavattam" is another village-festival song, but has been shot in a night sequence. The song has been shot with bright lights and feature a more lively ambiance. Muktha Bhanu makes a guest appearance for this song, and the damsel looks much better in a trimmer physique. "Pom Pom" appears in the end credits, with song picturization done on top of a moving bus. The lead pair was featured along with dancers and the visuals were interspersed with some blooper moments of the film. The background score was done well, but does not stand out as outstanding. Nonetheless, a decent output from D.Imman !
After the decent success of 'Manam Kothi Paravai', S.Ezhil has take a short-cut of sorts in making quick bucks, by aping the same format and template he has used for that film, in 'Desingu Raja' as well. There is no originality in the storyline nor are there any serious attempt in making a decent emotional plot-line for the film. Only S.Ezhil should answer if this film is meant to be an out-and-out comedy entertainer or an average drama, laced with comedy. Though S.Ezhil has projected it as the latter, the former proposition looks likely to be the actual case. In 'Manam Kothi Paravai', there was a serious element or undertone in the film, which formed the actual crux of the storyline and it was wrapped with good comedy portions. But in 'Desingu Raja', there seems to be no inclinations at all, to even attempt a properly structured, emotional content. S.Ezhil gave sole priority to comedy sequences and has laced the whole film, with plenty of them ! The climax is what you call the archetypal, lazy & farcical writing, notoriously prevalent in Tamizh cinema. N.Rajasekar's dialogues, is a big advantage for the comical portions of the film. S.Ezhil can be at least appreciated for keeping the duration of the film, bearable.
'Desingu Raja' - Slapstick comedy, at its average.
Ratings: 2.5/5 STARS
BY:TAMIL
Director S.M Vasanth, known for his critically acclaimed hits such as 'Keladi Kanmani', 'Aasai', 'Nearukku Ner' and etc is back after a long 6 years absence, with 'Satham Podathey' being his last release. A unique compilation of artistes, S.M Vasanth tried to weave three different story-lines, based on three couples, from three different landscape backdrops. How did all three story-lines merge or complement each other, is what we are looking for. So, is it worth a shot ?
Veteran Arjun, looks very fresh and shines in the role of a swimming coach. His body language and composed dialogue deliveries, are indicators of his vast experience. One sincerely hopes, that Arjun continues to choose such films henceforth and stop continuing mindless action 'masala' scripts. Cheran breezed through his role but is not entirely convincing as a foreign-returned. Also, its Cheran who has the lesser number of screen time among the heroes. Vemal, struggles as a smooth-talking charmer and its clearly evident that he is finding it hard to shake off the rural/town guy image, for which he is known for. Muktha Bhanu had the best of the female roles, and kudos to her for stealing the show, with her nuanced performance. Debutante Lasini is not bad, but has a long way to go, as her expressions were still not so organic and natural. The other debutante, Surveen Chawla tries her best to fit into the role of Arjun's student cum lover, but she misses her mark. The rest of the cast such as Thambi Ramaiah, Appukutty, Sathyan, Naren, John Vijay, Ravi Raghavendar, Shanthi Williams, Bosskey, Sivakumar, Chandramohan, Rajan and etc were functional.
The technical department of the film, dished out just above average works, except for the soundtracks. Sathya N.J's costume designing was apt, as each characters looked their part, but Vemal's look could have been altered for the better. Magi's art direction was neat, as most of the scenes were canned in real locations and the props matched the backdrops, showcased in the respective story-lines. The editing was handled by S.N Fazil and S.M Vasanth together, and probably both minds did not gel well during the cutting process. The film looked very choppy, with loose hangings and non-cohesion in the transition from one scene to the other. Bhojan K.Dinesh's cinematography work was very good and he captures the mood of each the three distinctive backdrops of hillside, coastline and city landscapes, very well. But the framing and close-ups could have been better.
S.M Vasanth's films always had fantastic soundtracks, and 'Moondru Per Moondru Kaadhal' is no exception either. This film is probably one of Yuvan Shankar Raja's best works in recent times, and nearly all the songs were fantastically scored and well mastered. Brilliant work, Yuvan ! But sadly, the song picturization quality was not up to the standards of the soundtrack. "Kaadhal Endhan Kaadhal" is a haunting, yet peppy number which comes during the opening credit sequence, with the backdrop of the Kovai sea and also appears in a montage sequence during the Cheran-Bhanu episode. "Unakkaagave Uyir" is an experimental dub-step type song, and was picturized on the Vemal-Lasini pair, also in montages. Lasini was shot beautifully by Bhojan, with good framing sense. "Padapadakkudhu" also appears during the Vemal-Lasini episode, but was shot on Robert and Blaaze making cameo appearances as 'Sanjay Ramasamy' and 'Sivaji The Boss' wannabes. The song had simple set work of light bulbs and dim-lighting for the backdrop. "Aaha Kaadhal" is a montage song, shot on Bhanu falling for Cheran and was mostly shot along the coastal lines of Kovai. "Mazhai Mazhai" was shot on Arjun and Surveen, who was in scanty sarees. The song was lacks any imagination and was shot in and around Binny Mills. "Stop The Paattu" was shot on a food court premise of a business complex and had Ritvik Varun, the son of S.M Vasanth, making a cameo. Ritvik does dance well, but is too camera conscious and looks uncomfortable in performing in front of the camera. The background score is handled by Tubby-Parik and is average, though most of the soundtrack is inspired from the songs. Not up to the expertise of Yuvan, but it was still functional.
S.M Vasanth should be appreciated for coming up with decent and believable characters and dilemmas faced by the characters. But what leaves a lot to be desired, was a proper screenplay ! Shankar Raman and S.M Vasanth's joint screenplay-writing was very badly structured and there's no proper connectivity between each story-lines. The pace was very lackadaisical in nature and the film moves in a very tepid manner. Though the songs were good, they were ill-fitting for the screenplay and as said before, poorly picturized. The message is something laudable, but falls flat and the writing is lethargic. Dialogues were pretty archaic, if you take into the current standards and tastes of the younger lot, but there were some sparkles, here and there. But still, kudos to S.M Vasanth for not thrusting unnecessary double entendres and glamor into the screenplay.
'Moondru Per Moondru Kaadhal' - definitely not on par with S.M Vasanth's earlier films. And definitely not the cup of tea of the present youngsters !
Ratings: 2.25/5 STARS
BY:TAMIL
