Movie :-Satham Podaathey
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Director:- Vasanth
Cast:- Pritviraj, Padmapriya, Nitin Satya, Raghavan
Producer:- Kaivallya
Music:- Yuvan Shankar Raja
Vasanth's *** Satham Podathey ***
Responses:
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From: cancer on 14th September 2007 01:48 PM [Full View]
Review:-
Vasanth has once again proved that he is a director with a difference with Sathum Podaathay a thriller mixed with some soft romance and peppy music. Padmapriya, the pivot around which the film revolves has given a riveting performance and is the pick of the film.
In these hard days when only larger than life heroes in outdated mass masalas work at the box-office, Vasanth has been bold to experiment with a subject that is daring. One of the major highlights of the film is the songs and background score of Yuvan Shankar Raja.
The story revolves around Bhanu (Padmapriya) who gets married to Ratnavel (Nitin Satya) a guy who works in railways as he is a sportsman. But soon the relationship turns sour, when the couple realize after a gynecologist ( Suhasini in a cameo) tells them that Ratnavel is impotent. In spite family pressures to get a mutual divorce, the old fashioned Bhanu decides to go ahead with the marriage by adopting a child.
But with the arrival of the baby, Ratnavel becomes more insecure and tells her that the child reminds him about his weakness! And all hell breaks lose when Bhanu realizes that her husband was an alcoholic who knew about his impotency and had betrayed her. She walks out on him. Bhanu meets Ravichandran (Pritviraj) a happy-go-lucky guy who proposes to her. But Ratnavel who had vowed to make life miserable for Bhanu returns. What next? You have to watch the film.
Songs like Azhagu Kutty Chellam…. and Pesugiren, Pesugiren… is class apart but their placement could have been better and they slow down the narration. The three hit numbers are slotted in the first half, and two of them end up with the same Bekal fort in the background! H.Sridhar’s audiography and Yuvan's background score needs special mention as for nearly 20 minutes towards the climax, there are no dialogues which give the thriller the necessary eerie feel.
On the down side, there is nothing new in the plot of the film, as a lot of similar stories of women married tormented by an obsessive psyche characters ending up battered, bruised and kidnapped have appeared earlier ( Darr, Anjaane, Chellamay, Sleeping with the Enemy among others). The character of Ratnavel could have been better etched out as we do not feel sympathy or empathy to his anguish and actions. But what works largely for the film are the performances of lead actors especially Padmapriya, Nitin Satya who is promising and Pritviraj.
Verdict: Thriller
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From: anoops on 14th September 2007 01:51 PM [Full View]
Expectations were brewing for this movie due to many factors, Prithviraj’s Tamil release after Mozhi, Yuvan Shankar Raja’s excellent music score, and towering all, the fact that the movie is directed by veteran Vasanth, that too a thriller on same lines of his biggest hit – Aasai.
First thing first, though the story (said to be a real one) is good and the attempt is genuine, down the line, you feel as if the product is not complete. You leave the theatre with a thought that Vasanth, the talented he is, could have done better.
The director has made sure that we have no clue of what we can expect from this one, as the trailer gave little to nothing away. Though the concept is little old for Tamil cinema, the handling of the subject is ala Vasanth. For the appetizers, how about the scene in which the heroine takes off her ‘thali’ or the mangal sutra and drops on the temple’s nandhi, symbolically stating that she is getting off her problem. Isn’t he after all the sishya of one of the greatest maverick directors of Tamil cinema – Balachander?
Prithviraj does his job with comfortable ease; he is a treat to watch. Padma priya who gets a meaty role does full justice to her character, though a slight check on her lip synchronization during the dubbing sessions would have rounded it off well. Nithin Satya as the cowardice psycho is a revelation in the climax.
In the technical department, the camera work by debutant Dinesh Kumar is top notch. A smooth narrative style has been followed as far as the editing goes; could have been a bit more stringent. Ocher studios graphics is not convincing, a scene in which a gas cylinder explodes has been done very amateurishly. Hope their upcoming project - Rajinikanth’s next, Sultan - the Warrior, doesn’t have any traces of such incompetence. Songs of Yuvan Shankar Raja, which are already a rage among the youth, have been choreographed adequately. “O Indha Kadhal” by Adnan Sami and “Entha Kuthirayil” by Shreya Ghoshal & Rahul Nambiar stand out. The background score is a little loud at times but still gives the eerie atmosphere which is needed for such stories.
On the flip side,
* Certain section of the audience might feel the narration to be slow, especially in the second half when two item numbers come one after the other in a span of 10 minutes. It would have been much crispier if trimmed by 15 to 20 minutes.
* The way the hero finds out the truth is imprudent, and logic does go out of the window couple of times, but thankfully not always.
* The movie tries very hard to tickle your funny bones but with ill luck.
* Commerciality of the movie is a big question mark.
Overall, if you are a fan of Vasanth school of film making, then go for it. But if you are one of those who get restless when the scheme of things is slow, then you might have some tough time.
Verdict - A wannabe thriller sans thrills.
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From: Roshan on 14th September 2007 02:06 PM [Full View]
Originally Posted by anoops
Good. I can go for it then 
Vasanth - One of the most underrated directors in the overhyped TF Industry !
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From: cancer on 14th September 2007 02:34 PM [Full View]
i would like to see this movie, the movie after kreedom. Originally Posted by Roshan
Originally Posted by anoops
Good. I can go for it then
Vasanth - One of the most underrated directors in the overhyped TF Industry !
don know whether its released in bangalore or not.
i too like vasanth's movies.
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From: MrJudge on 14th September 2007 05:25 PM [Full View]
behindwoods has given 2 stars only, is it very average? I will see it anyway.
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From: ThalaNass on 14th September 2007 08:48 PM [Full View]
the songs simply rocks..
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From: bingleguy on 14th September 2007 08:49 PM [Full View]
<digr>
naan eppo satham podaadhey nnu sonnen
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From: getcurry on 17th September 2007 08:27 AM [Full View]
Review - Sattham Podathey
Review - Sattham Podathey
Kollywoodtoday [ September 17, 2007 ]
Tamil-> Reviews
Review - Sattham Podathey
Cast : Nithin Sathya, Prithviraj, Padma Priya, Raghav, Premji and others and others
Production: Kaivallaya Entertainment
Director : SM Vasanth
Music : Yuvan Shankar Raja
First thought that comes to our mind after watching this film is that is it Director Vasanth who made great films like Keladi Kanmani, Aasai, Rhythm who has made this one? In spite of taking a long interval and then making his comeback he should have come up with a story in good form.
The film’s script is good and best, but that’s not the same with screenplay filled with illogical stuffs which were not expected to have been presented by Vasanth. Two things are usually common in all of the Vasanth’s films, one is importance given to the female characterization and another one is excellent songs. But in Sattham Podathey you find importance given only to female characterization played by Padma Priya and not to music.
Nithin Sathya has tried to do something different and his performance is good but not excellent. He has improved a lot in his acting skills and he adds one more feather to the film’s cap. Prithviraj has nothing more to do with this film. He appears with the characterization of white collar professional and director has failed to focus more on his part. His body language remembers his previous movie Mozhi.
The film is about Baanu (Padma Priya) who enters into nuptials with Rathnavelu who is a railway employee and later a sports coach. Things go on well between these married couples until one day when Baanu finds out that her husband is an impotent when examined by a doctor (Suhasini). But she tries to console herself and adjusts living to the situations. Later she is pushed into furthermore shock when it revealed that Rathinavelu more prior to the marriage had known that he is an impotent and didn’t inform her. He begins to torture her and with the help of family members, both get divorced.
Now it’s the entry of Ravichandran (Prithviraj), friend and colleague of Banu’s brother (Raaghav). Deeply felt by her dark past, he tends to develop an affair that turns into love. Both of them get well with each other and finally get married and move to Cochin as Ravichandiran has got a small time project over there in that place.
As Ravichandran gets down from the train to get breakfast for himself and his wife, the train starts departing away from the station. He runs with more pace and is an inch distance from getting hold of door handle. It is where a hand pulls him in and its none other than Rathinavelu? This scene forms the first half and second half would take you for a thrill ride with unexpected twists and turns filled with ingredients of illogicalities.
Nithin Sathya has performed a commendable job and it would have better if he had concentrated more on his acting. Prithviraj appears on the screen as a jovial person and performs the same kind of comedy that he had done in Mozhi. Well Padma Priya is the centralized character in the film and had done her level best.
I don’t really get to know what happened to Yuvan Shankar Raja? He is completely tuning in melodies that are not commendable. Only one song in the film ‘Pesugiraen’ by VIVA has been done well but appears in bits and pieces.
Camera works are excellent and tone of colour in the film is really a treat to the eyes but editing spoils the beauty captured by the cameraman. Enormous usage of unwanted cuts and plug ins create an annoyance among the viewers towards the film.
As a whole, Sattham Podathey despites having a good story line would have been made more perfectly with proper screenplay and characterization.
A worst Piece From the Best Director.
Plus:
1. Nithin Sathya
2. Padma Priya.
3. Cinematography
4. First Half.
Minus:
1. Characterizations.
2. Illogicalities.
3. Editing (- - -) A great minus point.
Verdict: Not an appreciable work. Can watch it once.
http://www.kollywoodtoday.com/review...tham-podathey/
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From: buddysathi on 17th September 2007 09:53 AM [Full View]
Watched it yesterday with my friends. My friends almost killed me for taking them to this movie. Was more like a TV serial!
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From: NOV on 21st September 2007 07:14 AM [Full View]
have read very postive reviews abt the film.. planning to watch this weekend.
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From: joe on 21st September 2007 01:02 PM [Full View]
சத்தம் போடாதே - திரைப்பார்வை
ஒரு தமிழ் திரைப்படத்தின் உரையாடலில் 'அசோகமித்திரன், சுந்தரராமசாமி' போன்ற பெயர்கள் அடிபட்டால் (!) அந்தப்படம் என்னமாதிரியான வகை, யாருக்கானது என்பதை உங்களால் எளிதில் யூகித்துவிட முடியும். ஆம். இது, (கிழ) கதாநாயகன் தோன்றியவுடன் அரங்கம் அதிர விசிலடிக்கும் முட்டாள் ரசிகர்களுக்கான படமல்ல. வழக்கமான தமிழ்ச் சினிமாக்களிலிருந்து விலகி நிற்கிற, சற்றே ஆசுவாசத்தைத் தருகிற படங்களை விரும்புகிற ரசிகர்களுக்கானது என்று சொல்லலாம்.
பாலச்சந்தர் பள்ளியிலிருந்து வந்திருந்தாலும் நாடகத்தன்மையை பெருமளவிற்கு விலக்கி தன் தனித்தன்மையினால் ஒரு தனி அடையாளத்தை ஏற்படுத்திக் கொண்டவர் வசந்த். (இவரின் 'நேருக்கு நேர்' போன்ற படங்களெல்லாம் ஆட்டத்தில் இல்லை.) இப்படியானப்பட்டவர் எப்படி இப்படி ஒரு படத்தை shhhhhhhhhh..............சரி சொல்கிறேன்.
Warning: Spoilers: இவ்வாறு எழுதுவதே எனக்கு அபத்தமாகத் தோன்றுகிறது. ஒரு சினிமாப்படத்தின் கதையை வெளிப்படுத்திவிட்டால் பிற்பாடு திரைப்படம் பா¡க்கும் போது ரசிக்க முடியாது என்பது பாமரத்தனமான சிந்தனை. ஏனென்றால், என்னைப் பொறுத்தவரை அத்தனை கதை அமைப்புகளும் ஏற்கெனவே சொல்லப்பட்டு விட்டன. பாவனை, மொழி, களம், போக்கு என்று கதை சொல்கிறவர்களின் விதவிதமான திறமைதான் ஒரு பார்வையாளனுக்கு சுவாரசியத்தை அளிக்கின்றன. புதிதான கதை அமைப்பு விஞ்ஞானக்கதைகளில்தான் சாத்தியம் என்பது என் தாழ்மையான கருத்து. வெளிநாட்டு திரைப்பட திரையிடல்களின் போது synopsis-ஐ பிரிண்ட் போட்டே கொடுத்துவிடுகிறார்கள். இதனால் படத்தை இன்னும் ஆழத்துடன் ரசிக்க முடிகிறது. நாம் ஏற்கெனவே பார்த்த பிடித்தமான திரைப்படத்தை மறுபடியும் ஏன் உட்கார்ந்து ஆவலுடன் பார்க்கிறோம் என்பதை யோசித்துப் பாருங்கள்.
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மேலே குறிப்பிட்டவாறு 'சத்தம் போடாதே' திரைப்படத்தின் கதை அமைப்பையும் ஒரு அசட்டுத் துணிச்சலுடன் ராமாயணக் கதையோடு ஒப்பிட்டால்... நாயகி கடத்தப்படுவதும் நாயகன் அவளை மீட்பதும்தான் என்று சொல்லலாம்.
மிகவும் அழகாக இருக்கின்ற காரணத்திற்காக (!) நண்பன் நிராகரித்து விட்ட பெண்ணின் மீது ஆசை கொண்டு தன்னுடைய ஆண்மையின்மையை மறைத்து அவளை திருமணம் செய்து கொள்கிறான் ரத்னவேல் (நிதின் சத்யா). இதை பின்னர் அறிந்து அதிர்ச்சி கொள்ளும் அவள் (பத்மபிரியா) விவாகரத்திற்குப் பின்னர் தன்னுடைய வாழ்க்கையில் இனிமையான உற்சாகத்துடன் குறுக்கிடும் ரவிச்சந்திரனை (பிருத்விராஜ்) திருமணம் செய்து கொள்கிறாள். தன்னுடைய மனைவியாக இருந்தவள், இன்னனொருவனுடன் சந்தோஷமாக இருப்பதா என்று குரோதத்துடன் யோசிக்கும் சற்றே மனநிலை பிறழ்ந்த முன்னாள் கணவன், அவளை கடத்திச் சென்று விடுவதும், பின்னர் பிருத்விராஜ் ..... blah... blah... blah..
முத்துராமன், சிவகுமார், மோகன் போன்ற இயல்பான கதாநாயர்களின் வெற்றிடத்தை சிறப்பாக நிரப்புகிறார் பிருத்விராஜ். குழந்தைகளுடனான பாடலில் இவரே ஒரு வளர்ந்த குழந்தை போலத்தான் இருக்கிறார். என்றாலும் 'கனா கண்டேன்' திரைப்படம் மாதிரி வித்தியாசமான பாத்திரங்களிலும் மாற்றி நடித்தால் தொடர்ந்து இடம் பிடிக்கலாம். வித்தியாசமாக இல்லை என்றாலும் தன் பங்கை நிறைவாக செய்திருக்கிறார்.
முன்னாள் கணவனால் அறைக்குள் அடைக்கப்பட்ட பின்புதான் பத்மபிரியா நடிக்கத் தொடங்குகிறார் எனலாம். அதுவரை ஒரு எந்தவொரு வித்தியாசமான நடிப்பையும் இவரிடமிருந்து பார்க்க முடியவில்லை என்பதற்கு சரியாக பயன்படுத்திக் கொள்ளாத இயக்குநரைத்தான் குறை சொல்ல வேண்டும். இவரின் பாத்திர அமைப்பு சற்றே குழப்பமானது. இவருக்கு பின்னணி குரல் கொடுத்திருக்கும் பாடகி சின்மயி அவர்களின் பங்களிப்பு சிறப்பானது.
நிதின் சத்யா. நடிப்பதற்கு அதிக வாய்ப்புள்ள பாத்திரம் இவருடையது. மனிதர் இயன்றவரை subtle-ஆக நடித்து கரை சேர்ந்திருந்தாலும், பதிலாக பிரகாஷ்ராஜ், டேனியல் பாலாஜி போன்ற சிறப்பான நடிகர்களை ஒரு வேளை இயக்குநர் பயன்படுத்தியிருந்தால் இந்தப் பாத்திரத்தின் வீர்யம் கூடியிருக்கும் என்று யூகிக்கிறேன். என்றாலும் பிரதானமாக வருகிற முதல் படத்திலேயே விவகாரமான பாத்திரத்தை தைரியாக ஏற்றிருப்பதற்காக இவருக்கொரு பாராட்டு.
அறிமுக ஒளிப்பதிவாளர் ராஜ்குமார் (?) அதிகப்பிரசங்கித்தனம் எதுவும் செய்யாமல், பார்வையாளர்களின் கண்கள் போலவே இயல்பாக படம் பிடித்திருக்கிறார். யுவனின் அற்புதமான பாடல்கள் அனைத்தையும் இயக்குநர் வீணடித்திருக்கிறார் என்றே சொல்வேன். (இந்தப் படத்திற்கு பாடல்களின் தேவையேயில்லை என்பது வேறு விஷயம்) பாடல்களை நான் முன்பே பலமுறை கேட்டிருந்ததால் நான் செய்து வைத்திருந்த கற்பனை அனைத்தும் ஒரு சதவீதம் கூட ஒட்டாமல் ஏமாற்றமளித்தது. பொதுவாக வசந்த்தின் படங்களில் பாடல்கள் சிறப்பாக படமாக்கப்பட்டிருக்கும். இது ஒரு விதிவிலக்கு. ('அழகு குட்டி செல்லம்' என்கிற குழந்தைப் பாடலில் "உன் பின்னழகில் பெளர்ணமிகள் தகதிமிதா ஜதி பேசும்" என்கிற வரிகளின் போது வேகமாக தவழ்கிற குழந்தையின் பின்னால் கேமராவை வைக்காமல், குழந்தையை வெறுமனே தூக்கிப் பிடித்திருப்பது ஸ்பஷ்டமாக தெரியும்படி படமாக்கியிருப்பது ஒரு உதாரணம்). 'காதல் பெரியதா காமம் பெரியதா' 'எந்தக் குதிரையில்' இரு பாடல்களும் ஒரே மாதிரியான பின்னணியில் அடுத்தடுத்து வந்து சலிக்க வைக்கிறது.
இதை உணர்ந்தோ என்னமோ, யுவன் பின்னணி இசையை கொட்டாவியுடன் அமைத்திருக்கிறார்.
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பாத்திரங்களின் அமைப்பும், திரைக்கதையும் பயங்கர குழப்பங்களுடன் தமிழ்ச்சினிமாவின் வழக்கமாக சம்பிரதாயங்களுடன் அமைக்கப்பட்டிருக்கிறது. ஆண்மையற்ற நிதின்சத்யா எப்படி பத்மபிரியா மேல் மையல் கொள்கிறான் என்பதும் பிறகு எதற்காக அவளை கடத்தி தன்னுடன் "வெறுமனே" வைத்துக் கொள்கிறான் என்பதும் அழுத்தமாகவும் தெளிவாகவும் சொல்லப்படவில்லை. அவனுக்கு இருப்பது காமமா அல்லது பொசசிவ்னஸ்ஸா என்பதும் தெளிவாக இல்லை.
ஏற்கெனவே மணமான பெண்ணை எதற்காக பிருத்விராஜ் மணம் முடிக்க அத்தனை பரபரக்கிறார் என்பதும் தெரியவில்லை. இத்தனை அழகான, நல்லவனான நண்பனை வைத்துக் கொண்டு பெண்ணுக்கு அண்ணன் ஏன் மற்ற இடங்களில் வரன் தேடினார் என்பதும் புரியவில்லை.
பிருத்விராஜ் ஏன் இரண்டு பெயர்களில் பத்மபிரியாவிடம் பேசி குறும்பு செய்கிறார் என்பதும் தெளிவாக இல்லை. (இந்த sequence-ஐ வைத்துக் கொண்டு பின்வரும் காட்சிகளில் ஏதாவது அழுத்தமான ஒரு திருப்பத்தை இயக்குநர் தருவார் என்று யூகித்து வைத்திருந்தேன்). காஞ்சிபுரம், பாலவாக்கம், கொச்சின் என்று கதை வேறு பல்வேறு இடங்களில் அலைவதில், களக்குழப்பம் வேறு. கூடவே 1970-களில் வந்த நகைச்சுவை துணுக்குகள் வேறு ஆரம்பக் கட்டங்களில் வந்து நெளிய வைக்கிறது. கெட்டவனான முன்னாள் காதலன் அல்லது கணவனும் நல்லவனான இந்நாள் கணவனும் எப்படியாவது சந்தித்து பேசி பார்வையாளனுக்கு திகைப்பை ஏற்படுத்த முயற்சிக்கிற மாதிரியான திரைக்கதையை தடை செய்யச் சொல்லி யாரேனும் வழக்குப் போடலாம்.
இடைவேளைக்கு பின்னர் ஏற்படுத்தின திரைக்கதையின் இறுக்கத்தை முதற்பாதியிலும் ஏற்படுத்தியிருக்கலாம். பல காட்சிகளை பார்வையாளர்கள் எளிதில் யூகித்துவிடும் படி திரைக்கதையை அமைத்திருப்பது பலவீனம். "ஆசை" படத்தின் சாயல்கள் பெருமளவிற்கு விழுந்திருப்பதை வசந்த் சாமர்த்தியமாக தவிர்க்க முயன்றிருக்கிறார். பெரும்பாலும் இன்டோரிலேயே நகர்கிற திரைக்கதை டெலிபிலிம் பார்ககிற உணர்வை ஏற்படுத்துகிறது.
வசந்திற்கு நான் சொல்ல விரும்புவதெல்லாம் இதுதான். இதுமாதிரியான, மூளைக்கு அதிகம் வேலை வைக்காத சஸ்பென்ஸ் படங்களையெல்லாம் இயக்க நிறைய இளம் இயக்குநர்கள் இருக்கிறார்கள். உங்களின் பலமே, இயல்பான மனிதர்கள் பல்வேறு உணர்ச்சிகளுடன் உலாவுகிற அழுத்தமான திரைக்கதையுடன் இருக்கிற படங்களே. (சிறந்த உதாரணம்: கேளடி கண்மணி). அந்த நிலைக்கு உங்களை focus செய்து கொள்வது நலம் என்றே நான் கருதுகிறேன். (அதற்காக ஒரு இயக்குநர் ஒரே மாதிரியான படங்களைத்தான் எடுக்க வேண்டுமென்று நான் சொல்லவில்லை. தன்னுடைய பலம் எதுவென்று உணர்ந்து அதற்கேற்ப இயங்குவது புத்திசாலித்தனமென்று தோன்றுகிறது)
()
"அண்ணாச்சி. ஸ்டாக் இல்லன்னு நெனக்கறேன். நீங்க கொடவுன்ல பாத்தீங்களா.. நான் பொறவு வாறேன்" என்று பின்னிருக்கையில் "தொணதொண"வென்று வியாபாரம் பேசிக் கொண்டிருந்தவரிடம், இந்தப்படத்தின் தலைப்பை சொல்லலாம் என்கிற வகையில் இருக்கிறதே தவிர படத்திற்கும் தலைப்பிற்கும் எந்த சம்பந்தமும் இருப்பதாக தெரியவில்லை. 'காதல்' பட பாதிப்பில், ஆந்திராவில் நடந்த உண்மைக்கதை என்று இறுதியில் காட்டப்படும் டைட்டில் கார்டும் எந்த விளைவையும் ஏற்படுத்தவில்லை.
மற்ற வணிக குப்பைப் படங்களை பார்க்க தயாராக இருப்பவர்கள், அவற்றை நிராகரித்து விட்டு பதிலாக இந்தப்படத்தை சற்றே வித்தியாச அனுபவத்திற்காக வேண்டுமானால் பா¡க்கலாம். மற்றபடி வழக்கமான வசந்த்தை தேடிப் போகிறவர்கள் மனதை திடப்படுத்திக் கொள்வது நல்லது.
உலக சினிமா பற்றிய போதுமான அறிவுள்ள வசந்த், தன்னுயை பாதையை மாற்றிக் கொண்டு இன்னும் வீர்யமாக வெளிப்பட வேண்டும்' என்பதைத்தான் அன்னை அபிராமி திரையரங்கில் என்னுடன் அமர்ந்து படம் பார்த்த அத்தனை ரசிகர்களும் (அதிகமில்லை சுமார் 50 பேர்தான்) நினைத்திருப்பார்கள் என்று யூகிக்கிறேன். Sorry Vasanth. Better luck next time.
http://pitchaipathiram.blogspot.com/...g-post_21.html
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From: littlemaster1982 on 21st September 2007 01:08 PM [Full View]
Kumudham is all praises for Satham Podathey in their review. But that's the only postivie review so far
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From: joe on 21st September 2007 01:54 PM [Full View]
What was vasanth's previous movie ? Any movie after Rythm?
I heard he made some short-films in between.
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From: Pras on 21st September 2007 02:03 PM [Full View]
his last movie was Hey, Nee romba azhukka irukke, i think ...
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From: Sanjeevi on 21st September 2007 02:03 PM [Full View]
Definitely Satham Podathey is not bad. Vasanth tried to deliver something new. According to me, it is watchable movie once. It is far better than many masala movies.
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From: swash2 on 6th October 2007 09:43 AM [Full View]
satham podaadhey review
Saw SP and my personal view – it is just ok.
PR as usual looks good and acts well but one has the feeling of
having seen it all before. His role was just a blend of paarijatham
comedy + mozhi dialog delivery mode/looks.
He had nothing new to add and I feel that the tamil
producers/directors are grossly understating his image this way. He
is being typecast as the next door decent white collar guy (of
course with killer looks) but nevertheless, they are not utilizing
his full potential. He has to be given challenging role which he can
adroitly perform, as he proved in vaasthavam and vargam (Malayalam).
And the movie itself gave me a feeling of having seen it in bits and
pieces before. Many sites praised Nitin Sathya sky high for a job
well done. All he did was go unshaven and look as though he had
starved for a few days. Nothing riveting about it though.
If you take individual acting, I would credit PR with doing justice
to his role and he comes out as the clear winner in the
acting/emoting/performing well department irrespective of having
done similar roles before. Padmapriya did well too.
Logically, the movie had more holes than a slice of Swiss cheese.
For those of you who think this is a great edge-of-the-seat-thriller
and who hate to read the storyline, do not proceed to read further.
List of holes:
1. Bhanu's brother Raghav clearly says that PR or Ravichandran
has been his flat mate for the past year and a half or was it two
years, and then he looks out for grooms elsewhere for his sister.
Why didn't he consider PR as the groom if he is a man made in heaven
and if he knows him that well?
2. In the same thread, PR tells Bhanu (as his pseudo-ego
Chandran) that he fell in love with her/liked her as soon as he saw
her picture her brother had of her. If so, in all the 1 and a half
yrs, it was only after the divorce, he managed to see Bhanu's
picture? And if they had been flat mates, wouldn't he have come to
the wedding? Both PR and Raghav share such good camaraderie not to
have opened this topic before. And if PR had indeed seen Bhanu's
picture and liked her, wouldn't he have told his good friend and
asked for her hand in marriage?
3. Also, once Bhanu accepts Ravichandran as the new groom,
Raghav had to go explain about PR to his parents. Wouldn't they
already have some info about their son's flat mate of 2 yrs?
4. And being a good friend that he is, won't PR have seen some
of Bhanu's wedding pictures? And recognized her former husband when
he chances upon him in the train?
5. PR does tell Bhanu that he knew what she underwent in the
hands of Ratnavel and if that was the case, he should have
immediately suspected Ratnavel of having a hand in Bhanu's
death/disappearance once he knows that Ratnavel is the ex-husband.
6. And why all that subterfuge of taking Ratnavel away from the
scene while the police without breaking the door open (come on, this
is not the USA where they have strict rights and the police just
cannot break into anyone's home without a warrant or judge's orders)
climb inside the house, rescue Bhanu and make her climb down the
roof. Why lull Rathnavel in this lull of false security when he
comes back?
7. The police could have accompanied PR inside the house, while
keeping Ratnavel under guard and they could have easily rescued
Bhanu. Why all the drama of taking Ratnavel away from the scene and
then showing all in reverse mode?
8. Also a guy like PR who is crazy (good crazy unlike the ex-
husband's bad crazy) about his new wife will calmly stand while
Bhanu knocks on the door to give a shocker of life to Ratnavel? Why
this melodrama? And if I were Bhanu, I would have run the other way
as soon as the police rescued me and not calmly knock on the
villain's door. And PR just calmly, ever so patient, witnesses the
shock on Ratnavel's face and doesn't exhibit any
pleasure/surprise/elation/joy at seeing his supposedly dead wife
standing in the flesh outside, though he is credited with the
knowledge that he knows she is alive and has talked with her over
the overhead pipe. All the more reason for a normal human being to
run and hug his wife and share some tears of joy with her. Instead,
he looks at Ratnavel, gauging his reaction. For what? For Ratnavel
to fall at both their feet and accept defeat? That scene was so
grossly underplayed and didn't fit in well as being realistic. And
this after showing the closeness betw PR and Bhanu after their
marriage.
9. I completely missed the point that PR made about evidence
no.2 which was the cellphone screensaver of Aishwarya Rai,
substituted on the go for the picture of Bhanu. So what does that
prove? PR already knows that Ratnavel is the ex-husband and RV knows
that PR knows it too. So what proof did that offer? Or did I miss
anything here?
10. Let us not discuss in detail about the lonely ironwala in
front of RV's house, conveniently ironing RV's shirt with the `R'
embroidery for PR to see. How convenient that both husbands' names
begin with `R's?
11. PR doesn't once suspect RV of holding a grudge even after he
knows that he is the ex-husband, thinking back to the time when RV
broke PR's car glass and threw away his important office papers?
Again, RV childishly locks the bathroom door from outside when PR is
inside and PR knows this. Even then, he doesn't suspect a thing? For
a guy who is shown as besotted with his new wife/friend, and who
possesses enough intelligence, PR is being shown as extremely
lacking in arriving at logical/rational conclusions when needed.
12. And let us not forget the comedy about PR's ravi and
chandran roles? Won't a wife recognize her husband's distinctive
Malayalam flavoured tamil in both? Did the director make her or us a
fool? Though it was cute, it was not done properly. At least if PR
had changed his voice or spoken over a piece of cloth, then that
would have made some sense.
The director has to be blamed for this solely though PR only did
what he was told. Just because she is encased in a soundproof room
doesn't make the logic disappear. And songs, except for the
pesugiren song, the others though ok, didn't fit in well with their
timing in the movie's sequences. Maybe if I had seen it in the
theaters, I could have felt some of the thriller elements there.
It was just about ok and an entertainer on the lines of being a good
time-pass movie. I feel Aasai was more of a thriller from the house
of Vasanth's than this one. This could have come out well only if
Vasanth had taken care of scripting it better and offering some
logic to explain obvious loopholes in the story. Though it was a
real-life story, this was taken as a reel-life movie and so, some
script changes should have been incorporated to make it a real
thriller. PR and Padmapriya did share a good on screen chemistry
though and looked good as a pair, as opposed to Padmapriya and
Nitin. He looked unkempt and a little short of cells in his upper
chambers right from the first scene.
I did like the movie in spite of all its shortfalls but then if only
the director had taken care of these mishaps, then I would have
classified this as a bonafide thriller.
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From: NOV on 6th October 2007 06:37 PM [Full View]
What a film!
certainly one of the better films of the year! Equal weight given to hero, heroine and villain. yuvan's background score is superb
number of songs could have been reduced. vasanth is a brilliant director. camerawork is a little irritating at times, but newcomer, pOga pOga sariyaagidum.
no separate comedy track. prithiviraj reminds of mozhi. but villain holds the show!
SP joins mozhi, paruththi veeran and PKMC as the films of the year.
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From: dell_gt on 11th October 2007 08:36 AM [Full View]
nice movie.. i like the movie very muchhh
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From: MrJudge on 12th October 2007 09:56 PM [Full View]
Saw the movie couple of weeks back. First half was ok but the second half was on the downside. No need for those two item numbers, it was clear that Vasanth couldn't get them right on screen. Overall ok movie.
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From: raaja_rasigan on 15th October 2007 04:49 PM [Full View]
i too haven't understood this scene.... what it's actually mean.. anybody there to explain Originally Posted by swash2
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From: raaja_rasigan on 15th October 2007 04:52 PM [Full View]
i feel that hero roles looks to be a dummy role... Originally Posted by NOV
villain is given more importance from the start to end
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From: Nerd on 16th October 2007 09:05 AM [Full View]
intha matter enakkum purila Originally Posted by raaja_rasigan
i too haven't understood this scene.... what it's actually mean.. anybody there to explain Originally Posted by swash2
Barring a few logical errors, it is a very decent movie. Songs were pathetic except pEsugiREn. BGM was kinda OK..
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From: Roshan on 2nd November 2007 10:31 PM [Full View]
Oh! intha matter yaarukkum puriyalEnnu theriyuthu Originally Posted by Nerd
intha matter enakkum purila Originally Posted by raaja_rasigan
i too haven't understood this scene.... what it's actually mean.. anybody there to explain Originally Posted by swash2
Barring a few logical errors, it is a very decent movie. Songs were pathetic except pEsugiREn. BGM was kinda OK.. Naan neReya yOsichEn, we at home discussed about it in different angles but suthamA puriyala. VasanththAn theLivu paduthanum.
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From: Nerd on 3rd November 2007 05:11 AM [Full View]
aahaa.. ithukku yEn ivLO kashtappatteenga Originally Posted by Roshan
I am pretty sure that vasanth got that totally wrong 
or may be we need to watch the movie a couple more times to understand. But its not worth it! :P
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From: buddysathi on 3rd November 2007 05:29 AM [Full View]
Naan arai thookithila paathen,, but from wat i understood,
RV asks " enna sir! pondattiyae maranthuteengala?" after he saw aishwarya rai screen saver!
PR knows RV has'nt seen his wife neither he introduced her to him! PR double checks it and confiirms!
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From: Nerd on 3rd November 2007 06:49 AM [Full View]
What are you saying man?? That scene happens at the very end and before that PR comes to know the truth. i.e. NS is his wife's first husband! Originally Posted by buddysathi
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From: karthik_sa2 on 15th August 2008 01:38 PM [Full View]
i saw this movie recntly...very good movie but this scene onniyum puriyala ...thought of finding it in net...inga vandha dhaan puriyudhu no one understood that scene.....did anybody find out atlest now?????therinja sollunga pa mandaye vedichirum pola irruku
9. I completely missed the point that PR made about evidence
no.2 which was the cellphone screensaver of Aishwarya Rai,
substituted on the go for the picture of Bhanu. So what does that
prove? PR already knows that Ratnavel is the ex-husband and RV knows
that PR knows it too. So what proof did that offer? Or did I miss
anything here?
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From: sarna_blr on 19th August 2008 11:27 AM [Full View]
Movie was very good ... but y this movie become hit
million dollar question 
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From: joe on 19th August 2008 01:29 PM [Full View]
Now this is news to me Originally Posted by sarna_blr
Movie was very good ... but y this movie become hit million dollar question