Endhiran is a Tamil action movie starring great artists like Rajnikanth (Vaseegaran), Aishwarya (Sharmili) Danny Denzongpa, Santhanam and Karunas. The director of the movie is S.Shankar, the producer is Kalanidhi Maran and the story is written by S.Shankar, Sujhata and Balakumaran.
Rajnikanth plays a double role in the movie as the scientist Vaseegaran and as the robot developed by him.
'Sura' is expected to hit the screens by this summer. 'Sura' starcasts Vijay and Tamannah in the lead roles and is directed by S.P Rajakumar, which is the 50th film for Vijay.
Sun pictures has acquired the rights and has planned to release this movie by this summer. The shooting is currently progressing at Pondicherry across the fishing areas and Vijay is playing the role of the fisherman in it. After completing the schedule in Pondicherry, the team has decided to move to Tuticorin, where the stunts sequences are to be shot, near harbour.
First of all, a big round of applause for the director for introducing a new genre in Tamil film industry. Holly wood had it since long with movies like Hot Shots Naked Gun or Scary Movie series and Tamil television has beaten it to death. But a full length spoof running for more than two hours on big screen is really difficult to make considering the sensitivity of the industry people. Even Bollywood hasn’t tried a full fledged parody yet.
Thamizh Padam has done it nicely without hurting the sentiments or feelings of any body. Though only regular movie goers will identify every spoof still they will enjoy it even if it is of their favourite heroes. Director Amudhan has walked the tight rope very effectively.
The film starts with a mother giving birth to a child – our hero Shiva- on a rainy night in a typical village which detests male babies being born in the village. The ‘Nattamai’ of the village had already passed a decree to kill any male child born to any body in the village for a peculiar reason. The male children don’t stay in the village when they grow up. So the father asks his mother-Paravai Muniamma-to kill the baby. When the old lady is about to feed the baby with branded cactus milk in tetra pack the infant pleads with the grand mother to put him in a goods train so that he can reach the city and become a big man. Why a goods train? Because the infant knew all goods train leaving a village is destined to reach Chennai city.
Touched by the aspiration of the infant the old lady takes the baby herself to Chennai to help him achieve his dream. In Chennai Shiva grows at the spin of a cycle wheel up and spends time with his college going friends Nakul, Siddharth and Bharath – MS Bhaskar, Manobala and Vennira Aadai Murthy. Shiva who appears to be a spoiled child actually is an undercover cop like Pokkiri Vijay. He eliminates the city rowdies like Thirupachi Vijay using techniques of Ghajini Suriya, Anniyan Vikram and Apoorva Sahodarargal Kamal Haasan.
Meanwhile on the other side of his life Shiva sees Disha like Kadhalukku Mariyadhai Vijay and love strikes like Mozhi Prithviraj. Shiva expresses his love to her like Maounaragam Karthik. But Disha’s father doesn’t approve their love because Shiva is poor and doesn’t know who his father is. Humiliated Shiva decides to become rich and find his father in the village. He becomes rich in a jiffy like Annamalai Rajini and Sivaji Rajini. The love finally succeeds.
Then in search of his father Shiva lands in his ancestral village Cinemapatti like Winner Prashanth. Its a village where couples go to bed only when Vaidegi Kathirunthal Vijaykanth starts singing ‘Netru rathiri yamma’ at night. He searches his long lost father in the neighbouring villages Serialpatti and Thangachipatti nad Sentimentpatti in vain. Finally with very little help Shiva finds about his father from one of his associates. The associate gives him a CD of his family song which incidentally is the ‘Michael Learns To Rock’ number, ‘Someday someway’. Armed by the CD Shiva croons the song in public and he is united with his parents and sister.
Now back to the city. Shiva is entrusted with the tough job of finding the main switch of the rowdy gang called ‘D’ gang Chidambara Rahasiyam Delhi Ganesh. The thrilling, breathtaking tasks he undertakes to accomplish his mission and the real identity of the dreaded underworld boss of the ‘D’ gang in the climax sequences are going to be the shockers. When you see the film please don’t reveal the climax to others.
When you enter the theatre knowing the film is a spoof you don’t expect anything logical. The movie has followed every rule of a parody. It has sarcasm, typecast, making fun of scenes from serious movies, violence with no major consequences, obvious references to actions or names, lampooning with no purpose, casual scenes with many layers etc.
Shiva, introduced as Chandramukhi Rajini plays his part to his known character. His timing and dialogue delivery sets him apart. The rip offs from Thalapathy, Kakkha Kakkha, Vettaiyaadu Vilaiyaadu and many more don’t fail to tickle you. Shiva over shadows all other characters just like that with his witty presence in every frame.
Music by Kannan is another fine element in the film. The cryptic ‘O Maha Zeeya’ is very watchable on screen. Other songs also match the mood and genre.
Director CS Amudhan is welcomed with open arms. He has revealed that there are still some facets of cinema still unknown to many. A brave new attempt for which there will be many followers in the future.
'Kacheri Aarambam' is Jeeva's ticket to stardom. The actor, who is credited a lot for doing off-beat roles in the recent past, has consciously taken to do a racy commercial pot-boiler. Debutant filmmaker Thiraivannan has seemingly rehashed several scenes from many of the entertainers that made buzz earlier.
Jeeva reminds one of 'Thenavattu', where he almost played a similar role with same Poonam Bajwa around. The presence of seasoned campaigners like J D Chakravarthy and Vadivelu around, 'Kacheri ....' is nothing but a full-length commercial venture aimed at the so-called B and C audience.
The energy at which the story moves is the hallmark of the movie. Forget logic and sit through the film for a roller-coaster ride, which you would have had many times before watching such films.
The film begins at a journey in train where Paari (Jeeva) looks back at everything. Cut! the story goes to one remote village in Ramanathapuram. Paari is a do-gooder who helps everyone in need. A magnanimous man, he gives anything and everything to others if they ask for, apt to his name.
Promising his dad (Azhagan Perumal) to earn more, Paari sets out to Chennai to earn money. But he is thrown to more challenges in city. He meets a young girl Madhi (Poonam Bajwa) and falls in love with her. But also comes some trouble for Paari in the form of some goons, who flexes muscles with him. Sivamani (J D Chakravarthy), the dreaded but sophisticated don of the city gets ready to marry Madhu. It is now up to Paari and Sivamani to sort it out.
Jeeva has enough scope to try his hand at comedy, flex muscles and sing duets. Seemingly targetting youth, He has opted for more scenes that would appeal to the young generation. Poonam Bajwa looks cute. She has to get her emotions on screen right.
Vadivelu as Deepavali evokes laughter. His one-liners are witty. J D Chakri impresses a lot. His subtle performance is the highlight. A couple of songs by Imman are foot-tapping.
Produced by Super Good Films, 'Kacheri...' is a formula film, but Thiraivannan can be credited for making the movie work with his racy screenplay. Otherwise it is one among the many.
He’s the ultimate star and he sure has lived up to the name. Ajith is the man of the moment and he totally deserves to be. After a long time, Director Saran has offered us a true action movie. Perhaps the last talked about action movie was Kamal Haasan’s starrer ‘Vettaiyaadu Vilaiyaadu’ (VV) by Goutham Menon, though ‘Asal’ is completely different from ‘VV’.
‘Asal’, the latest and classy flick by Sivaji Productions is a feast for all you Ajith’s fans. This is the fourth movie by the Saran- Ajith- Bharadwaj trio, after Kadhal Mannan, Amarkkalam, and Attagasam. However, you won’t find a trace of those movies in this. Saran has totally reformed his creativity in ‘Asal’. Along with screen play writer Yuhi Sethu and few vital inputs from Ajith himself, Saran has made a platter of serious action story in this movie.
Yuhi Sethu’s writing skills and Saran’s movie making skills probably have taken inspiration from a few famous Hollywood flicks and this is a ‘little’ evident in the movie. The story narration can be correlated to many Hollywood gangster flicks that have come in the past.
Asal- the story is based in France, where most action has taken place. Talking about action, the car chase sequences in France designed by stunt master William Ong are sure to make you feel awe. Ajith’s doing a double role in this movie after ‘Attagasam’.
He plays the father and son. Ajith as the father, is serious, composed and has done this role with elegance. Though you won’t see him through out the movie, the senior Ajith’s character would be resonant in your mind.
Lets move to the gist of the story now. The movie’s all about Sons-Father relationship, Brother-Brother relationship and how evil forces enter to change their lives forever. Jeevanandham (Senior Ajith) is an arms manufacturer running the Eurasia Trading Company in Paris, and his consignments are mainly for defence purposes to countries and not to others. He has 3 sons. Shiva (the junior Ajith) and as his half brothers, the slowly growing actor Sampath and ‘Aahaa’ Rajeev portray their wicked roles to perfection. A baddie Shetty played by Kelly Dorjee, who’s a Don back in India has other plans. The other villain is Pradeep Rawat, who plays the role of the dreadful uncle to Jeevanandham’s sons. How the brothers are pulled into the Don’s web, how the uncle tries his evil pranks on them and how the junior Ajith saves wrap up this exciting flick.
Now, are we missing the ladies? Sameera Reddy after her brilliant performance in ‘Vaarnam Aayiram’ is playing the role of the Cultural Attache in the Indian Consulate in Paris. She’s doing a serious role as a diplomat, and it completely suits her. Dubbing for her by Chinmayi should definitely be commended. The other lady is Bhavana, who works for Prabhu back in India. Her innocent role keeps the audience in dilemma as to who ends up winning Ajith’s love.
Giving company as character artistes are producer Prabhu as a friend of the Senior Ajith, and yesteryear hero Suresh as a French Police officer makes a comeback. The other characters for you to look out for are Yuhi Sethu and his accomplices; their raunchy comedy makes the hall have a healthy laugh.
Ajith’s performance is admirable. He appears to be still under the hangover of ‘Billa’ yet he has quite gracefully differentiated his characters as the father and son. Talking about characterization, Ajith is loaded with absolute style and has carried away his costumes to flawlessness. His clothing in this movie is simply superb. Although the cigar in his mouth conveys a wrong message to the youth and his fans, it completes the chic look.
Fight masters Kanal Kannan, Thalapathi Dinesh and Patrick Bruneton have all done a brilliant job and have made Ajith appear superior. The fight sequences are amazing, and director Saran has not shown much of blood shed.
Saran’s hard work is obvious in the movie. But the length and the narration of the story could have been further sliced. In every other scene, dialogue writer Yuhi Sethu, has made fans of Ajith go ga-ga as Ajith’s label Thala has been reiterated plenty of times. The movie has fared well in most departments, but the music has been a cropper. Music director Bharadwaj could have done better work as his combination with Ajith and Saran in the past has been remarkably successful. But solace is offered from Prashanth D Misale, the cinematographer, who has shown us Paris so beautifully in the movie.
According to Asal’s tag line “The Power of Silence”, Ajith has limited dialogues but loaded with action and of course guns. The end product is a true offering for the die-hard Ajith fan. If you are not a die-hard fan of Ajith, after watching ‘Asal’, you’ll unquestionably become one.
‘Vinnaithandi Varuvaya’, (VTV) and you know what its like to cross the sky and get into another dimension called love. ‘Vinnaithandi Varuvaya’ is a popular lyric from the ‘Vennilave Vennilave’ song from ‘Minsara Kanavu’ directed by Rajeev Menon and all of you know that. So director Goutham Vasudev Menon has rightly acknowledged Rajeev Menon in the first card of the Titles. How humble!
Right from the time, the word ‘action’ was told, the film has been creating the ripples of expectation among director Goutham’s fans. He has surely tried his maximum to live up to the expectations. Captain Goutham and his team- comprising of editor Antony, art director Rajeevan, director of photography Manoj Paramahamsa and music by A R Rahman, just look at that combination, have always given us that feeling of modern cinema.
Well technically, the movie is made with high values- Exceptional music, background score, re-recording, classy camera work, foreign locations, etc. All the technicians involved must receive that imperative appreciation for they have done their work with much finesse.
The first in the list of technicians who have to be appreciated would be, undoubtedly, A R Rahman. Man! Isn’t he a creative genius! His 1st movie after the Oscar phenomenon. His music is one of the main reasons to the much acclaimed hype. The re-recording and the background score are really amazing. If you’ve listened to his songs in your personal stereo, then its only half of the magic you have experienced.
The picturisation of the songs is simply remarkable and they complete the magic. God knows how Goutham gets his ideas and the eye of Manoj Paramahamsa who’s done ‘Eeram’ before, not just his eye that thought of those exotic locations but his ‘lens eye’ as well that caught all those beautiful locales. Watch those videos even with half opened eyes and you’ll realize he hasn’t used a camera but a paint brush with the palette of colours from Mother Nature. The colour tones in the movie have been brought out quite amazingly. The songs especially, ‘Hosana’ and ‘Omanna Penne’ shot at Malta, are worth the watch at the cinemas. Songs get major attention in the movie and the other technician we are going to talk about is Rajeevan and his art-work in the sets of a few songs is fascinating. The D.O.P (director of photography) Manoj has used minimal artificial lighting in the movie, showing his signature style.
We’ll come back to the people behind the camera a little later. Now is the time for the people in front of the camera. Trisha and Silambarasan as the lead pair, and quite a few veterans in the movie like Kitty as Silambarasan’s father and Bob Antony as Trisha’s father. All artists have done well especially Ganesh, also one of the producers, who plays Silambarasan’s friend, has acted well, and his dialogue delivery must be appreciated. Lets talk about- Silambarasan! We’ve seen him as a college student, as a mass character and we’ve seen him dance in the middle of the road, typical Chennai style, but can you imagine Silambarasan in formals, as a simple, regular guy-next door, decent and at his best behaviour? Well, he has proved he is not just the normal run-off-the-mill commercial hero but an actor who will mould himself into any character that a story demands. He’s come out of that commercial image with VTV. All were apprehensive about the fact that Silambarasan working with a classy director like Goutham. But the director has been persistent about Silambarasan and he hasn’t let the director down. Silambarasan has been in front of the camera since he was a kid and such a role as ‘Karthik’ in this movie is really not demanding or impossible to him. He hasn’t acted in this movie, but has been himself. His dialogue delivery appeared to be simple, just like how he would talk to anyone in his real life. He is an ambitious and aspiring film maker in the movie and in real life, he really is.
Opposite Silambarasan is pretty lass Trisha. Trisha as Jessie has portrayed her character brilliantly, she hasn’t over acted or under acted, and she’s done it perfectly. Director of Photography, Manoj has prettified Trisha, and she looks prettier than her previous appearances. Saree clad in most of the movie, Trisha has pulled off a terrific performance. Nalini Sriram’s costumes might start a cult with the ladies from now on.
Now we’re moving in to the ‘story, screenplay and dialogues’, by Goutham. Don’t expect us to be spoilsport and reveal the storyline and the cute screenplay of the movie. The first half till the interval will grab your attention as it has been nicely written and well taken. Some cute scenes between Silambarasan and Trisha look really candid and the camera man has managed to capture that cheeky chemistry between the two. According to the film promos, theatrical trailers, etc ‘VTV’ is a love story ‘with a difference’. There wasn’t anything particularly different to talk about, except for Simbu being younger to Trisha by one year, and the screenplay that won’t tell you till the end if they’ve fall in love and live happily ever after?
Silambarasan wooing Trisha, their second pairing after ‘Alai’, is not at all impractical and you can relate their characters to real life. Their chemistry is enticing and they actually appear a cute pair. Silambarasan’s attitude in the movie is straight forward while Trisha is homely and conservative. The one thing you can’t relate to life or even agree is the hero meeting the heroine at her house, at his will without anyone noticing. Cinema has grown of age, or have people!?
The screenplay in the first half is slow and cute but the screenplay in the second half is even slower.
A faster screenplay might spoil the feel of a romantic movie. Back to technicians, Editor Antony has done a decent job but could have advised his Captain to chop off a few reels. Some of the audience thought the movie got over and they got off their seats when a song was being played! but the movie continued for 10 more minutes after that.
Silambarasan, we all know fights well and dances amazingly. There is just one stunt sequence in the movie and that’s designed by Shiva who’s handled the fight scenes very well and Silambarasan is the demi-god we know, sustains not a single scratch on him. Silambarasan’s dance is admirable. Keeping in mind that most of the songs are not dance numbers, you’ll still see him sway to those tunes convincingly.
Dialogues in the movie and especially Silambarasan’s dialogue delivery is worth mentioning. The dialogues make you giggle at times, and sometimes they make you feel- how one can be so romantic.
Director Goutham has tried something ‘different’ but the audience is perplexed at the end. You wouldn’t know how to react after the climax. Weird! If you’ve been following all his movies and know his style of film making, then you would appreciate his work. There were rumours about two climaxes to the movie. The version the audience saw on the first day is not really lively.
Finally a disclaimer: If and only if, you have all the time in the world, and you like the slow romantic genre, you’ll enjoy this one.
Veteran film makers Bharathiraja and K. Balachander the two pillars of Tamil Cinema who contributed a lot with their meaningful films have joined their hands in Rettaisuzhi. They are playing the lead roles for the first time. Both the legends have bought dignity and a naturalness to the acting, which is refreshing to watch.
Buzz up!
The film starts like a puppet show style of story telling and gradually mingles with usual flow. The story is set in a village near Tirunelveli. Ramaswamy (K Balachandar) a feudal landlord and a former congress man is at loggerheads with Singaravelan (Bharathiraja), an active communist.
It is a 40 year old enmity between the two who are daggers drawn. Their grandchildren and young relatives are initially in two camps and clash like enemies. But the love between Murthy (Aari) and Susheela (Anjali) who are in opposite camps unite the children.Now all the children wow to unite both the lovers, so that the couple can get married. And the way the children make efforts to unit the young lovers is paves a possitive climax.
The real hero of the film is, undoubtedly Bharathiraja. His body language and way of expression are the real treat to good cinema lovers. His performance remembers the good old days of Muthal Mariyathai, especially when he realises Anjali's deep love towards the boy. There is nothing novel of extraordinary portrayal in KB's role, but in the climax he proves his experience.
The lead pair Anjali and Aari lacks the chemistry and is not convincing as lovers. The nearly two dozen children at times get on your nerve and are some times too smart. But managing with 24 children is not an easy job. Karnas as a cop who has a soft corner for the heroine makes you laugh and Manobala is another interesting character in the film.
Nallan Thamizh, an upcoming dialogue writer is impressive with the one liners. Karthik Raja’s music and Chezhiyan's camera works are the silver lines of the film. On the negative side, the director fails to full fill the expectations, even though the producer gives his best support and budget to him. In most of the scenes the children dominate the screen which gradually kills your interest of watching the movie.
Preview
Cast: Bharathiraja, K Balachander, Anjali, Aari, Manobala.
Movies aren't reality but they are from reality. That’s what Vasanthabalan has conveyed in his new film. Very similar to the films of Madhur Bhadarkar in Hindi Vasanthabalan too has gone onto the details of a social problem while trying to tell story at the same time.
Ayngaran International Films ‘Angadi Theru’ is a disturbing love story told in the back drop of serious life.
It about the sordid life forced upon two youngsters from a remote south Tamil Nadu village who are brought to Chennai city to work as counter sales people in swanky textile malls of Ranganathan Street and exploited by their employers. Mahesh who is a plus two topper is forced by the circumstances to take up a sales man job in a mall in Chennai. Anjali is also employed at the same shop. The jobs are low paying and they live in inhuman conditions provided by their exploiting mall owners. Amidst the conditions they fall in love which irks the mean management and they fight it out. The exploiting conditions in the mall don’t give way to peaceful existence and the try to start a new life out of the mall but end up ordinarily. While telling the story of lovers, Vasanthabalan also unveils the pathetic life conditions of poor young people from remote villages who are brought to city in promise of good job and then exploited by the poor blood sucking management.
The film is hard hitting in its reality. Life seems very tame at times. Many things happening in this film are things that are happening to us or around us but we hardly seem to notice or empathise. The graphic description of the life of the forced laborers strikes you hard. Next time if you go shopping to the posh malls in Ranganathan Street or around T. Nagar please pause and take a deep look at the uniformed counter sales people and give him or her considerate smile. Like his earlier ‘Veyil’ Vasanthabalan here too seems to tell us the world outside is a real bad world and survival is difficult for the good and able.
‘Angadi Theru’ is exquisitely simple and is a sonnet to the sprit of survival. For thoughtful filmgoers ‘Angadi Theru’ is a beautifully contained film complete in its portrayal of a young pair in search of life.
The performances of the leading characters are assets to the film. New comer Mahesh and ‘Kattrathu Thamizh’ Anjali are simply superb and they virtually carry the film on behalf of Vasanthabalan. The director also proved his choice of actors is on target. If the industry doesn’t use the potential of Anjali fully after this film then that would be a loss to Tamil cinema. Director A. Venkatesh as the mall supervisor and Black Pandi of 'Kanakanum Kalangal' as the friend of Mahesh are the only other significant characters and they too are fine.
Music by G V Prakash and Vijay Antony evokes a mixed feeling. The songs are good but they are neither in the film nor with the film. Vijay Antony’s ‘Aval Appadi Ondrum Azhagillai’ which is already a chart buster looks reclaimed on screen. But Vijay Antony’s back ground score is marvelous. The BGM travels as a separate character throughout the film. It makes you cry when the characters cry and laugh when they laugh.
The debutant Cinematographer Richard Maria Nathan walks hand in hand with Vasanthabalan. Right from the opening scene of rain drenched lanes of T. Nagar till the dry crowded Ranganathan Street providing asylum to the central characters at the end Richard cools your eyes meaningfully. Welcome Richard! Well Done!!
Vasanthabalan’s screenplay is as uncluttered and faithful as his lead characters. But he could have told his dialogue writer to refrain from adding that Tirunelveli slang ‘lei… lei’ to each and every utterance. The 150 minutes could have been trimmed a bit. The story of Anjali’s younger sister, and the song sequence inside the shop at night and particularly the scenes of Sneha could have been done away with. They don’t do anything to enhance the narration.
‘Angadi Theru’ may not be a turning point in the history of Tamil cinema, but a film worth archiving for future. Vasanthabalan’s third feature film is modest and quiet a study on loneliness and surviving spirit.
The director of ‘Run’, ‘Sandai Kozhi’ etc. is back with another racy action adventure, 'Paiyya'. Expect action-packed scenes in this movie as well.
Boy O’ Boy! The movie is an action journey no doubt! At no frame of the movie, will anyone feel bored or tired. Karthi has got a hat-trick of success with ‘Paiyaa’, after his ‘Paruthi Veeran’ and ‘Aayirathil Oruvan’.
Right from the titling of the movie, you will slowly realize this movie is not going to be just another action flick! The unique introduction of the movie’s title itself conveys the substance of the movie.
The Story,
The movie starts off in Bangalore, with Karthi (Shiva) who lives with his friends who try to get him a job desperately. Karthi is a guy who is easy on life and has a ‘thennavatu’ attitude On one such occasion of a job hunt, Karthi spots Tamannah (Charulatha) while getting down the bus and falls for her instantly.
The hero goes to the railway station to pick a friend who owns a car that Karthi and his friends drive. While waiting for his friend to arrive, Karthi sees the terribly tensed Tamannah with her uncle, who mistake Karthi to be a cab driver and ask him to drop them at Chennai.
Accepting the travel, Karthi takes off in the black Mitsubishi Lancer along with his guests. When they pause for refueling, Tamannah asks Karthi to buzz off leaving her uncle behind. From here starts the real road trip of 'Paiyya' in full throttle.
On Tamannah's request, Karthi sets off to Mumbai, and with a fight scene on their way, Karthi reveals his connection with Mumbai. He goes in to rewind mode and reminds himself of the villain (Milind Soman).
On their journey, they encounter people, new locations and the hero and heroine get along well. The car is their home as long as the journey happens.
The interval block is centred with an amazing fight sequence. The different angles of the camera capture the thrashing stunts, and Anthony’s sharp cuts stimulate the fight sequence for that wild action.
The team,
Karthi and Tamannah have acted to the director’s demand. Their performance is absolutely great and director Lingusamy has got the best of them. Tamannah who is mostly in the rear seat, has acted decently for the scope given to her. All the villains have done their part with out flaws, while Milind Soman as ‘Bali’ has acted well, he was underused.
This movie is everything about the team, comprising of Mathi, the cinematographer, Anthony the editor, Yuvan Shankar Raja, the music director, Brinda Sarathy the dialogue writer, the Stunt Director Kanal Kannan, Art by Rajeevan.
Being a road movie, most of the action is in the car or rather on the road! Considering the hardships involved, the camera work is immaculate. The action scenes with cars all over, and car chases in the movie would have definitely been a toll on the director and the cinematographer. Editing the different versions of the camera, Anthony has done an incredible job. ‘Paiyaa’ definitely has got the best of Anthony out.
The car sequences on Indian Highways and the backdrops have been beautifully captured. Dialogues weaved in between are subtle and natural. Nothing too cinematic or too dramatic! Funny dialogue delivery of Karthi makes the audience laugh most of the time.
Art work by Rajeevan is enduring and simply attractive. From the car seats to the sets of the song 'Suthude Suthude', the man has shown his tastes, given the restricted scope for art in the ‘road movie’.
Karthi and Tamannah look fresh, in their attire as well as their looks. Priya Manikandan, the costume designer has seemingly done an impressive job.
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