11.27.2005

Anand - Manchi Coffee Lanti Cinema



Telugu film industry is known for racy masala entertainers. Rarely offbeat movies are made. None of the Telugu films got the “Best Regional film” national award in one of the past years. The jury said that there were no deserving movies made in Telugu in that year. Such is/was the condition of Telugu film industry that is the next to bollywood in Indian cinema in terms of revenue and also no of movies made. I haven’t seen and liked many of Telugu movies in recent past except for “Andhapuram” directed by Krishnavamsi. And here is another movie, which I saw recently which took me by storm by its freshness in every aspect. The movie is Anand directed by national award winner Sekar Kammula.

Anand has got one of the most appropriate tag lines that go like “Manchi coffee lanti cinema” which means “a movie like a nice refreshing coffee”. We drink coffee everyday, the content is always the same but yet we feel refreshing to have it in the morning. Similarly, though the content of the movie is what we have seen many a times before, it is told in a refreshing way.

Plot in brief. Roopa (Kamilinee Mukherjee) is an independent girl. She loses her family in an accident at a very young age. She gets engaged to Rahul, her boss. But after knowing about her Hitler like future mother-in-law and unsupportive Rahul in a small problem on the day of marriage, she decides to stop the marriage. Meanwhile, Anand (Raja) who is son of one of the richest corporate in AP decides to stay as neighborhood of Roopa to win her heart and then marry her. Why Anand chooses her, and whether they get united is what this movie is all about.

As the title implies, the movie captures the happy moments of Roopa’s life. Roopa’s characterization is done with care. She lives alone with the help of her neighbors and friends. But she is as normal as any other girl of her age with all little desires and expectation without any self-sympathy for her situation and on the whole doesn’t behave like an ideal woman as we see in most of K. Balachander movies. Even all the other characters are true to life. Say, the character of Anita (best friend of Roopa) she is so real. The director has used the kids well (like Maniratnam). They make most part of the movie very lively. They add more charm and fun. For those who watch Tamil movies, this movie is similar to Azhaghiya Theeyae in its freshness and by the feel a viewer gets while watching the movie. A little smile will embrace your face for the entire 2.5 hours.

The dialogues are natural and filled with humor. The screenplay (positively) narrates the story straightly without any twists and turns. But the movie didn’t drag at any point. The best thing about the movie is that the director has stuck to reality within the commercial format. They become friends initially and eventually fall in love after knowing each other well. It is not a love at first sight as we see in all other movies. It is fun to watch them fight for silly problems in second half.

All the actors have performed well. Kamilinee Mukherjee is apt for the role of Roopa. It is hard to believe that she is a Bengali girl. I found no err with her lip movements in Telugu. She has got expressive eyes. Even before watching this movie, she impressed me with her performance in “Phir Milenge” as Shilpa’s sister. Raja also does a convincing job. All others, especially the kids have done well.

Music is another big asset for the film. Most of the songs are shot as montages and gels well with the movie. I feel montage making is an art in itself. Sekar does a fine job in the song picturisation too. But he could have avoided routine dance numbers. K.M. Radhakrishan has given beautiful carnatic based melodies. “Nuvvena” and “Yamunatheeram” songs still lingers. The background score is also done pretty well in synch with the mood of the film. Most of the time, the music enhances the pleasant mood of the scene.

I felt the Roopa’s house set could have been done much better. It was too artificial and gave a dramatic look to the movie as most part of the movie happens here. Anyway, the director wanted it that way because most of the time, he takes help from the setting of the house to take the story further.

Try out this freshly brewed coffee. You won’t be disappointed for sure.

11.24.2005

Making of Thiruvasakam


Welgate Company didn’t release the “Making of Thiruvasakam” DVD officially in the market. I now know the reason for it. Recently another IR album called “Twinkle Twinkle Little Star” got released which is also marketed by Welgate audio company. In each audio CD pack of this album, they give a VCD free. You have many choices like “Talking with Maestro” VCD which is a programme shown in SS music about Thiruvasakam, Vaiko’s speech during the audio release function, Rajini and Kamal’s speech during audio release function and Making of Thiruvasakam. If you buy one CD of “TTLS” album, you may find any one of the VCD in the pack. To know what is inside, they have mentioned the name of the VCD that is kept inside on the front cover of the CD pack. I bought two copies of the CD, mainly for the free VCD. There is nothing much to say about music of “TTLS” as of now. One with "Talking with Maestro" and the other with "Making of Thiruvasakam".

I am happy that finally I got hold of the making of Thiruvasakam VCD with some additional clips from the release function. It is edited and produced by Tamil Mayyam. Infact Father Jegath Gespar himself has carried the mike and camera to interview various musicians from Hungary. The CD starts with Illayaraja’s press meet held in Chennai in which he first informed about the release of Thiruvasakam. Intermittently, the clips of the recording sessions in Hungary are shown. We can have a look into the orchestra rehearsing some of the interlude pieces from “Poovar Senni mannan” song. IR sings a piece to correct a Solo violin in the orchestra.

The best part of the VCD comes at the end. IR, Ray Harcourt and the symphony orchestra performs the “Polla Vinayaen” song together. It was great to watch the way the final crescendo of the song is recorded. As the song proceeds, the Tamil choir’s parts are aptly edited with the recording videos of male and female chorus singing in the Prasad studios, Chennai. I now know where the kids’ chorus is used. There are also brief interviews with Hungary musicians showering praise on IR’s genius in music. I think they might have got a much lengthier video of the recording sessions. They could have included everything in the VCD. So that it will be great watch for hardcore IR fans. It is a must buy CD for all fans though it doesn’t live up to our expectations.

Behind Every Man's Success there is a ........


Kamal and Gowthami in the Shooting spot of "Vettaiyadu Vilayadu" in New York.

11.23.2005

11.22.2005

One Night @ Call Center


It is only after reading the prologue of this book, I chose “five point someone” to read. But “One night @ Call Center” is highly disappointing. Though it has got all that is positive in FPS, it didn’t work well this time. First of all, the plot has nothing to do with the call center people. The problems that these people face are common to every other youngster in India. This book is just a long chat of six friends working in a call center. Except for Shyam and Vroom, no character is complete. Everyone discussing about everyone else’s problem and thankfully everyone (to stretch the book) has got some problems. The book drags a lot at many places. Especially I didn’t like “my date with priyanka” diversion. It is another trick Chetan has played to stretch the book further. It serves no purpose to the main storyline. The happenings in those 8 hours are too unrealistic and unconvincing. It was written like a screenplay for a movie. There are lots of cinematic moments in the movie, sorry the book. Though there is a trade mark Chetan humor in conversations, it doesn’t serve to keep up the interest. The most interesting thing about the prologue was the call from the God but when we come to know what it is all about, we get cheated. One of the six members is there just for giving a logical reason to that “Call from God” thing. Chetan has got stuck in between fantasy and realistic fiction. Though he has something useful to say at the end by that call from God, it is not convincing enough to drive the point home. Better book next time Chetan.

11.21.2005

Nayagan - All Time Best ???


At last, I watched Nayagan this weekend. No one will believe if I say I haven’t seen this movie but it is the fact in the sense that I haven’t seen the complete movie at a stretch but have seen bits and pieces on TV channels in programmes like Super Scenes etc., while watching the movie, first thought that came to my mind is “Nayagan” doesn’t deserve to be in the list of 100 all time best movies. Agreed that it is a masterpiece by the standards of Indian cinema when it got released but it has got its own (logically and technically) flaws.

Almost no creation is perfect but to get a tag like all-time best, it has to be minimum. As like any other common viewer I am in all praise for the bravo performance by Kamal Haasan, dialogues by Balakumaran, Cinematography by P.C.Sreeram, Background score by Illayaraja and above all for Maniratnam.

The second half is little dragging with lot of melodramatic stuff in it. Melodrama is no sin but it is deliberately added to gain more sympathy for Velunayakar character. For instance, Charu’s sudden decision to leave her father after her brother’s death is quite agreeable but I felt she was too harsh and especially her dialogues while leaving her father is too much. She knows what her father has been doing all these days then why this sudden explosive decision.

In the climax on the doorsteps of court, conversation between Velunayakar and his grandson can be said as the most touching moments of the movie but yet I thought the kid could have uttered those lines with some expression. I mean he was literally vomiting what he was taught with a plain face. Yet, the cute voice plays the trick.

The technique Velu uses to safely smuggle the goods from the sea is too simple. This idea may strike to anyone who is doing the same business for years together. Velu says, “Naan 10 vayasulayae sethirukka vendiyavan” and so I am not afraid of the judgement, then why did he play the hide and seek game with the police? Actually it gives space for the scenes to show (which has already been told very clearly before) how great and powerful person Velu nayakar is? May be the intention is to make Nasser (AC) understand how great a person he is, but a small conversation with Charu will do that.
It reaches an extreme level too much when an old lady sacrifices her life for saving Velu Nayakar. I mention this because; those portions are little dragging in the second half.

You may wonder why did I mention there is technical flaw in the movie. It is with the make-up. When people get older, only difference shown is just their white hairs and half baldheads. Physically they are as strong as ever. They couldn’t have done a make-up like that in Indian but a few wrinkles like make-up on the face would have made it. I wonder how a man of perfection forgot this.

I do have a small complaint on music in the sense that it doesn’t synch with the period of the movie except for “Naan sirithaal deepavali” song. “Thenpandi seemayile” is timeless; I have got no complaints about it but what about other songs. Come on, just by using T.R. Mahalingam and Susheela for “Anthi mazhai megam” doesn’t make it sound like an old song. I think IR was too adamant to come out of his style in spite of the script’s demand. In this sense I feel ARR stroke a balance between the period sound and Rahman sound in the songs of Iruvar.

In spite of all these flaws, the movie works big time because of one man called Maniratnam. Here I am going to repeat the same that I said when I wrote about Thalapathi. Maniratnam knows mass mesmerism and he knows well how to make the audience forget all these flaws with his tricky screenplay, shot composition and other technicalities. For instance, I just said about the kid’s plain expression in one of the most touching moments of the movie but that flaw is well balanced by Kamal’s performance and haunting score by Illayaraja. Actually when to compared to the flaws in Thalapathi, these are very minor. Don’t forget that I too like this movie but just wanted to share what I felt about the not so commonly discussed aspects of this movie.

11.20.2005

Shrek, F 9/11


It is one of the most commercially successful documentaries ever. Collected around $119 in US Box office. It also won the best film award in Cannes Film festival that is usually given to a feature film. Well, it is not a documentary actually though has got some real life clippings. The way Moore shows the ‘9/11’ incident itself is laudable. You just hear the sound of flights dashing on the wall of WTC and the following clips shows just the people running, screaming and praying for the people falling from the skyscraper building in the fog of dust. You don’t get to watch the actual incident yet he is able to moist everyone’s eyes. Also the way he has used the 7-minute clip of Bush sitting idle after being informed about the incident is funny and acts as a thread to all branching episodes of Bush’s link with Saudis, Talibans and various companies in which Bush’s relatives are a part of. The clippings from Iraq war, interviews with civilians and army people are the most moving parts of the documentary. The Lila Lipscomb part was little dramatic though. Though on the whole, the documentary is one sided, one cannot forgive Bush for what he did to Iraq in the name of War president. Wonder, people elected Bush even after success of this movie.

I haven’t seen many full-length animated movies before “Shrek” except for “The Incredibles” and “Ants”. I was not an ardent fan of cartoons in childhood days except for Popeye- the sailor show. Though I have heard a lot about this movie, I was little hesitant to watch it. One day I saw a movie called “Ants”. I really liked it and later came to know that the same team who did “Ants” has created “Shrek”. I went ahead to watch it this weekend and now I know the reason for its massive success. First of all, it had a solid story to tell that appeals to both kids and adults. Obviously, the greatness of the movie lies in the fact that they have tried to get human like expressions in all creatures/ characters as perfectly as possible, especially that of Shrek is well done. The donkey character has got good one-liners. The other highlight of the movie is the background score and the catchy songs placed at right places. I like the Fiona theme very much. Going to watch Shrek-2. Heard that it is funnier than Shrek. Performance of Mike Myers, Eddie Murphy (Donkey), and Cameroon Diaz gives life to animated creatures.

11.18.2005

Tajmahal - Eternal Love Story


I haven't seen the movie yet but from what i have read so far, it seems the 100 Crore magnum opus turns out to be another Kisna/Devdas, a lesson for directors how one should not make a movie. How many more pennnies they are going to waste to learn that mere extravanagant sets and costumes will never make a classic film. Let us not be too harsh the movie for now. Well, i am going to watch this movie just for the songs. I love Naushad's compositions in this movie. Here is my music review of the same

"The movie is more ornamental than Emotional" - Hindu Review

11.17.2005

Pather Panchali - A RAY of Light to Indian Cinema


A lot had been written about this movie for past fifty years. There are no new words left behind to praise the movie. This movie gave a Ray of light to Indian cinema, through which the whole world can take a look at the real condition of people in Indian villages and this man named Satyajit Ray became the sole representative of Indian cinema in international arena. You all know, which movie I am talking, the most popular Indian movie of all time, “Pather Panchali”.

It is as simple and as realistic as a movie can get. It is about the struggles of a poor family to survive with a hopeless man as head of the family, who dreams to become a writer but ends up getting some temporary jobs. Even after nearly 50 years of its release, the movie looked very contemporary in all aspects. I never got the feeling that I am watching an old movie, may be because the interior villages in India are in the same conditions even now as it was then. I heard that Ray used to sketch all the scenes in the movie before shooting and while shooting he will follow the sketches and visualize accordingly and may be that was the reason for those stunning visuals with brilliant and beautiful cinematography even by the technical standards of today. The black and white picture has got a classy tone of it’s own and enhances the impact of this (subtly) emotional drama.

The controlled and down to earth performance of each and every actor (are they?) is another factor for the impact that the movie leaves. The other technical aspects like sound design, art direction is great considering the period it was made. Like say, when Hari and his wife is speaking inside the house, we get to hear the voice of their aunt singing from outside. Hope those days, movies were not shot with synch-sound. I mean the sound design is carefully done. The movie is first in the Apu trilogy but this movie hardly focuses on Apu but the climax definitely ends with a hope on Apu to uplift his family. The first part focuses basically on Durga and her little desires and emotions.

The ending is really haunting. The way that panic situation is picturised is brilliant with the doors dashing to open due to heavy wind blowing outside, the idol of Vinayak shaking on a stand inside the house and Durga lying in the bed shivering in fever and cold with her mother hugging by her side, the most touching scene in the movie and we could anticipate what is going to happen but again the movie stands out by the way Ray handles this tragic situation with utmost subtlety in the very next scene.

I liked the background score by Pandit Ravishankar of the movie a lot. Those days, I don’t think most moviemakers or even the composers concentrated on this department much. The haunting flute and sitar pieces sprinkled all through the movie enhance the visuals and are pleasant to listen to it along with the poetic visuals. Actually I am searching for this music CD, can anyone tell me where can I find it. What else to say, this movie is a masterpiece for sure (sorry I can’t close without using this).

Life is Beautiful, Pather Panchali, Fahrenheit 9/11, Shrek

I had a great weekend last week by watching the movies viz., Life is Beautiful, Pather Panchali, Fahrenheit 9/11 and Shrek. Each one is best in its own genre.

Life is Beautiful

Well, it won 3 Oscars out of 7 nominations. Best Dramatic Score, Best Actor and Best Foreign language film and it deserves all the three. Jury may intentionally nominate and give Oscars to foreign language films even in main categories to prove that it is the most prestigious recognition in the world. But in the process, we people get to know some of the rare gems that may have gone unnoticed otherwise. Really, if it was not nominated for Oscars, I might have not known about this beautiful Italian movie called “Life is Beautiful”. The image of Roberto Begnini (actor, producer and director of the movie) madly running around in the auditorium on the announcement of him winning the Oscar is still fresh in my mind.

It is about an Italian family (Guido, Dora and Joshua) that lived happily until Second World War started in Italy but it is after which the movie starts to take its unique path. The first half is usual boy-meets-girl, fell in love and get married stuff but it is pure fun. The fantasy filled tricky screenplay makes this otherwise ordinary plot in the first half of the movie very entertaining.

When you take up war as a backdrop in a movie, it is likely to be an emotional drama packed with sufferings and pain of the victims. This movie has got that too but the treatment is very different. I think the major plus point of the movie is that it is able to arouse a kind of mixed emotions in the audience (you cry and laugh) all at the same time. Well, as far as I remember, I haven’t had such an experience with any of the other movies that I have seen so far. There is a sequence that creates very high impact with such mixed emotions.

When Guido was working as a bearer in a hotel, he makes friendship with a doctor who is obsessed with riddles. Many a times, Guido helps the doctor to solve the riddles. Now, when Guido is in the concentration camp, this doctor who is a Nazi comes to check the health condition of the prisoners. Though initially he pretends like he doesn’t know Guido, later he says Guido that he wants to speak to him in secret. Guido is on high expectation that the doctor would help him and his family to escape from the prison. When they finally meet, doctor asks him another riddle “duck-quack-woof’ kind of stuff and this is for what doctor said Guido to meet him in secret. In this scene, you realize on one side how funny the situation is especially by the way the doctor tells the riddle and how tragic the situation when you see the face expression of Guido loaded with disappointment after the only hope turned hopeless. A classy situation and performance to say the least.

The struggle of Guido to protect his kid and also to hide the real situation from his kid Joshua is what that drives the whole plot. Though it is highly fictious, it is convincingly presented. It does give lot of opportunities for twists in the second half. The climax is really touching with the kid feeling happy for winning the tank without knowing the sacrifice that his dad has made for him to have this feeling all his life. But I don’t understand whether Dora knows what happened to Guido. Dora’s expression in the climax is quite ambiguous.

The performances are top notch. Roberto Begnini as Guido steals the show by his energetic performance. The female lead (don’t know her name) has nothing much to do except stare with surprise and sob a little bit in the second half. The kid who did the role Joshua is impressive with his cute expressions.

The movie is technically at par. The production design and costumes gives an authentic period look to the movie. Background score really elevates the proceedings. The main love theme is very pleasant and soothing to listen.

Life is beautiful is beautiful in all aspects.

Will write my thoughts on other movies later.

11.08.2005

Thalapathi - The King

Yesterday I watched Thalapathi in DVD. Thalapathi is definitely a bible for Indian directors (especially for Shankar now) those who think of using an actor in a star without compromising his image or star status in their movie. In this movie, there is no big logical reason for Surya and Deva to form such a close bondage except for the fact that Deva saved Surya from life-long imprisonment. Also there is no convincing reason or even enough scenes for Subbu to fall in love with Surya. But yet in spite of all these major loop holes, Maniratnam was able to narrate a gripping tale and make the audience to empathize with the characters. This is for what I admire Maniratnam the most. His screenplay knows mass mesmerism. The highlights of the movie are perfect casting, cinematography, performances and above all background score and music by Illayaraja. I can write a long post on background score alone. For me this is the most captivating performance of Rajinikanth after Netri Kann where in which you really like and enjoy the character he plays more than his screen presence. Well, lets not get into the debate between Thalapathi and Guna. True, Guna is a masterpiece but Thalapathi will ever remain as king of commercial entertainers.

11.07.2005

Black, The Last Samurai and Manichitrathazhu

After buying a Sony TV and DVD Player, it was this weekend that I had a chance to make use of the both completely as it was continuously raining in Chennai and hence stopping me from going out. I rented three movie DVDs and watched them twice each. Black, The Last Samurai and Manichitrathazhu.

Black: Well, all the debates for rejecting Black as India’s official entry for Oscars are settling down and there are many reasons discussed why it is not selected. Who cares? This movie is definitely one of the finest Indian melodramas made in an internationally acceptable way. It is a movie for our soul and not for the mind. I have written a lot about this movie here. Now after watching it in DVD, I just fell in love with it now than before. I am thinking of owning a DVD of this movie. The special features in the DVD are not good enough though. It would have been better if they had included Director’s commentary on the movie. There are very less movie making footages. But the audio and video quality is at par.

The Last Samurai: It is a beautiful movie which I thought didn’t get enough recognition (you know what I mean, the Oscars). The Oscar jury was greatly interested in rewarding the LOTR trilogy and so even with 5 nominations; this movie couldn’t fetch even one. I don’t know how much the plot is historically correct but I love this movie for what Nathan Algren loves Samurai’s. It is a well crafted movie. All the performances are top notch especially that of Ken Wantanabe (Katsumoto). I can say this movie has got the best performance of Tom Cruise. If there is a flaw in the movie, it could be a little confusing characterization of Katsumoto. I was blown away by the background score by Hans Zimmer. The love theme is beautiful and so are the thundering scores for the action sequences. The conversations as Kastumoto often says is good and touching. On the whole, it is a yet another unforgettable movie.

Manichitrathazhu: At last, I saw the original of “Chandramukhi” which has created a unimaginable record in Indian box -office. No doubt, the original is a classic. This is the first ever Malayalam movie that I am watching. I am so impressed by the way they visualize stories. The down to earth tone, subtle humor, controlled acting, soothing music are all assets for Malayalam cinema then. For sure, P. Vasu has done lot of damages to the original plot but at the same time, we should accept that he has Rajinified the plot well.

Finally, after watching all such great movie, I went to Sivakasi on compulsion. Though it seems that Vijay has arrived as a poor man’s rajini, there is a limit for everything. I have taken a pledge that I would never watch a vijay movie in future unless it is made by some worthy director.

11.05.2005

Rang De Basanti Music Preview


I got the opportunity to listen to a short clip of "Rang De Basanti" music here (Music is by A.R.Rahman). I think the clip has two songs. One is the title track with foot tapping b hangra beats. It is sure to rock the charts after release. And there is a melody at the end which is also beautiful especially the female humming is soothing. I think these clips were recorded in Rahman's studio during final mixing. Anyway, i am eagerly waiting for the release of this album.

11.04.2005

Thavamai Thavamirundhu Music Review


There are some factors I consider before buying movie soundtracks. One of the most important factors apart from the composer is the director of the movie. A director of the movie should definitely have a good ear to music otherwise he can’t extract the best even from the greatest of the composers. I would blindly buy the soundtrack of the movie if it is directed by people like Maniratnam, Balumahendra, Sanjay Leela Bhansali, Subash Ghai, Vasanth, K.Vishwanath, Bharathiraja etc., no matter who the composer is. They really extract the best. After listening to the album Thavamai Thavamirundhu, I think I can append Cheran’s name in that list. Before getting into reviewing the album, let me recollect some of the ever green songs from Cheran’s movies and about Cheran’s collaboration with various composers.

Deva has worked with Cheran for “Bharathi Kannamma”, “Vetri Kodikattu” and “Porkaalam”. Among these films I could remember only “Thanjavoor Mannu eduthu” and “Karuvelam Kaatukullae” songs from “Porkaalam”. All the songs in this movie were a hit then but these are the two that still lingers. Cheran – Illayaraja combo worked for “Desiay Geetham”. Though the main reason for going to Illayaraja is for background score, IR did deliver a good melody in “Vakkapattu poga pora” song and the orchestration was great in “En kanavinai kelamma” song. But obviously Cheran can’t take credit for any of these songs as we know the working style of IR. And the Cheran – Baradwaj combination in both “Pandavar Bhoomi” and “Autograph” seems to be the most successful of all. “Avaravar Vazhkayil” and most of the songs in “Autograph” turned to be immortal. Cheran also gives lot of importance to meaningful lyrics by which the life of these songs is stretched. Finally now, Cheran has gone to the most unlikely composers, Sabesh – Murali (Assistants of Deva).

Sabesh – Murali did the background score for “Autograph”. They did a pretty good job in that movie. I think that gave the confidence to Cheran that these guys can deliver when given an opportunity.

The album works mainly because of the following factors

1) Freshness in melody
2) All being situational tracks, lyrics are meaningful
3) Orchestration with just enough instruments
4) Catchy tunes and rhythms
5) Variety of songs and moods.

It has got totally 7 songs.

Ore Oru Oorukkullae

This song is the equivalent of “Nyabagam varuthey” from Autograph in its meaning. In this song, a father sings about his childhood days to his son. The earthy flute piece and the folk rhythm along with Sabesh’s rustic vocals provide perfect nativity sound to the song. Sabesh has a better voice than Deva. As this song has more emphasis on expression than rendition, Sabesh fits in well. Snehan’s lyrics are earthy with less word play. Jaykumar performs a street drama in between. I think the song will appeal more with the visuals. The song has got an easy tune which will sit in our mind on very first listening.

Unnai Charanadainthenm

If I would have heard this number without knowing the composer and the movie, I would have definitely thought it as an A.R.Rahman composition. Everything in the song from the melody, rhythm, and free flowing bass in the background, guitar and piano pieces are Rahmanish. It is a beautiful romantic number all the way. The new singers Kalyani and Pranna have done a great job in this song.

Oru Muraithaan

It is a slow, sober, situational number. This song sounds like “Ninaivugal” song from Autograph which may be because of the rendition Unni menon. The beautiful prelude promises a lot, but the vocal tune is not so great, yet the song soothes with its beautiful orchestration. The soothing mild flute in the background enhances the sober mood of the song. Unni menon is expressive enough. Lyric by Thenmozhi gels well with the mood and the situation of the song.

Enna parkirai

How it would be if a whole song is sung in a way Shalini spells the ending words in “Kiru Kiru” song from Kathal? This song is the answer. It is a sensuous number with all right ingredients. Cheran’s lyrics are good. For a change mirchi Suchitra sings a melody and she has done full justice to the song and so is Yugendran. The song starts like a dialogue and slowly gets into a melody and rhythm. The ending with vocals going high with a grand orchestra is just perfect for the mood of the song. There are actually two themes in this song apart from the main tune, one played in flute and other in piano. Both sounds great and are put to use at right places. Beautiful Flute piece is similar to that of “Yaro yaravan” song from “Alaudin” movie.

Aakatti

It is an emotional folk number. Though I didn’t understand meaning of many words in this song, I got a rough idea about what they are trying to say. This is a song of meaningful lyrics and emotions than music. Yet the percussions at the end have a great impact. The singer Jayakumar has done a great job in expressive singing. I am eagerly waiting to watch this song on the screen.

Theme Music

We have heard similar song done by Deva in the movie “Aha” and also M.S.Viswanathan did a duet song with just hummings and lalala’s without any lyrics in “Ninaithalae innikum”. This song is full of classical swaras and jathis. I don’t know whom to give the credit for this song, singers or the composer. Madhubalakrisha, Sarath and Sudha Raghunathan have done a brilliant job in the song. The fast streaming swaras along with catchy beats make a stunning fusion. Also the song is well programmed.

Avaram poovae

Sabesh-Murali has tried to make a song like “Thenpaadi Seemayilae”. Though they haven’t really touched us emotionally with this song, it is a nice composition. It will definitely gel well with the movie. The vibraphone theme is beautiful. Madhubalakrishna is at his emotive best in this song.

Sabesh – Murali has tried hard to meet the class of Illayaraja in folk rhythms and melodies and that of A.R.Rahman in romantic numbers. Though they didn’t reach that level of class, they have succeeded in getting somewhat close to it. This is the second (first one being “Kanda Naal Muthal”) album in this year, in which I love all the songs equally.