In film world Rajinikanth is known as someone who is very spiritual and religious. He makes it a point to visit holy places whenever time permits. Recently after the Sivaji function and the announcement of his films Kuselan and Robot, the actor had taken a brief break and was at the Himalayas to perform meditation and to visit the caves of his guru Babaji.
Now after his return, he was seen at Tirupathi along with his wife, two daughters, son-in-law Dhanush and his grand son Yathra. As expected there was some kind of excitement among the devotees which was put to rest soon and Rajini's family had a good darshan of Lord Balaji. It is reported that the Boss's family was at Tirupathi in connection with the tonsuring ceremony of his grandson Yathra. It is a known fact in this part of the country that the child's first hair cut would be at a temple and as it appears Super star's family is also following the same ritual
Monday, February 4, 2008
Prabhu on association with Ajith - Pudhiya paravai -sivaji ganesan role is Ajith and Prabhu as M.R. Radha
When speculations are rife about Ajith starring in the remake of the yesteryear thriller classic Pudhiya Paravai produced by Sivaji films, Prabhu opened up to our correspondent on all that and much more recently. “We have plans for the remake and to associate with Ajith, however, both will be different projects”, Prabhu was quick to clarify.
It is important to note that earlier, rumors suggested Prabhu will don the legendary M.R Radha’s role in the remake with Ajith playing Sivaji’s part.“We are holding talks with Ajith for a new venture and you can expect an official announcement in this regard soon”, Prabhu assures after clarifying that the remake of Pudhiya Paravai is also on the cards for Sivaji films. “We are still in the initial stages of the project and I’m playing the role immortalized by legend M.R. Radha,” Prabhu replies to a poser in this regard.
So there you have, straight from the horse’s mouth clearing air on the rumors. Now you know that Pudhiya Paravai is being remade and Ajith is in Sivaji production.
It is important to note that earlier, rumors suggested Prabhu will don the legendary M.R Radha’s role in the remake with Ajith playing Sivaji’s part.“We are holding talks with Ajith for a new venture and you can expect an official announcement in this regard soon”, Prabhu assures after clarifying that the remake of Pudhiya Paravai is also on the cards for Sivaji films. “We are still in the initial stages of the project and I’m playing the role immortalized by legend M.R. Radha,” Prabhu replies to a poser in this regard.
So there you have, straight from the horse’s mouth clearing air on the rumors. Now you know that Pudhiya Paravai is being remade and Ajith is in Sivaji production.
Indiralogathil Naa. Azhagappan - Vadivelu, Suja, Theetha, Rari, Nazar, Shriya Direction: Thambi RamiahMusic: Sabesh MuraliProduction:7th channel
Cast : Vadivelu, Suja, Theetha, Rari, Nazar, ShriyaDirection: Thambi RamiahMusic: Sabesh MuraliProduction: Manickam Narayanan
Very much on the same lines of Imsai Arasan, Vadivelu has belted out his second venture in the fantasy-comedy series. If Imsai Arasan worked, it was for its genuine, no-nonsense, spontaneous humor set in a unique milieu. Not to mention, the script was taut and extremely appealing. In the same breadth, Indiralogathil Na. Azhagappan has an engaging script, but what seems to be missing from this fantasy-comedy is the sparkling humor that made the earlier one click.
The movie would have worked but for the contrived and stale comic sequences that makes one wonder if, instead of coming up with a cohesive comic script, they just cobbled together an ensemble of comedy tracks.Vadivelu’s intro, with a song, is definitely on par with the biggies in the film industry, reiterating the golden rule of an opening song for the protagonist. Vadivelu’s fans will be delighted to see him don the lead role on-screen once again. The actor has done a commendable job in all the three roles, as Azhagappan, Indiran and Yamadharman. Of the three, the Indiran role seems to suit him best
The story is plain and simple. The three beauties of Indiralogam – Rambai, Oorvasi and Menaka – come down to earth on a visit. Enchanted by Vadivelu’s drama, Rambai is unable to return to her abode within the stipulated time. As a result, she is cursed and turned into a stone sculpture. Meanwhile, Vadivelu is advised by an astrologer to garland the sculpture. Promptly, he garlands her sculpture and Rambai returns to her original self. She also takes Azhagappan along with her to Indiralogam. His visit to Indiralogam empowers him to predict the past and future of the earthlings. Because of his newfound powers of prediction, the crime rate in the human world declines and there is little work to do in the Yamalogam. Confused, Yamadharman confers the responsibility of investigating this mysterious turn of events to Lord Naradar (enacted by Nasser), who reveals the true cause. Angered by this, Vadivelu is cursed and turns into a 90-year old man.
Given the fact that Vadivelu’s huge chunk of fan population comprises of kids, the director could have avoided the top angles that conveniently feast on the bevy of beauties that encircle Vadivelu. Though Shriya looks good in her small role, the idea of having her play the necromancer doesn’t quite create the desired impact. Vandanam Vanakkam song by Vadivelu and company is quite natural. Thotta Tharani has done an admirable job with the sets, especially the Yamalogam.J. N. Jawahar’s editing is adequate, while Sabesh-Murali’s music with its tinge of 23-aam Pulikesi, is very mediocre. Costumer R. Murugan deserves a special mention, but for Vadivelu’s 90-year old act that deserved a little more attention.Indiralogathil might appeal to those who swear more by Vadivelu’s slapstick antics than his verbal wisecracks. Because there are hardly any verbal fireworks, and those few that are there, are submerged in the extravagance.
Verdict: A riot sans laughter!
Very much on the same lines of Imsai Arasan, Vadivelu has belted out his second venture in the fantasy-comedy series. If Imsai Arasan worked, it was for its genuine, no-nonsense, spontaneous humor set in a unique milieu. Not to mention, the script was taut and extremely appealing. In the same breadth, Indiralogathil Na. Azhagappan has an engaging script, but what seems to be missing from this fantasy-comedy is the sparkling humor that made the earlier one click.
The movie would have worked but for the contrived and stale comic sequences that makes one wonder if, instead of coming up with a cohesive comic script, they just cobbled together an ensemble of comedy tracks.Vadivelu’s intro, with a song, is definitely on par with the biggies in the film industry, reiterating the golden rule of an opening song for the protagonist. Vadivelu’s fans will be delighted to see him don the lead role on-screen once again. The actor has done a commendable job in all the three roles, as Azhagappan, Indiran and Yamadharman. Of the three, the Indiran role seems to suit him best
The story is plain and simple. The three beauties of Indiralogam – Rambai, Oorvasi and Menaka – come down to earth on a visit. Enchanted by Vadivelu’s drama, Rambai is unable to return to her abode within the stipulated time. As a result, she is cursed and turned into a stone sculpture. Meanwhile, Vadivelu is advised by an astrologer to garland the sculpture. Promptly, he garlands her sculpture and Rambai returns to her original self. She also takes Azhagappan along with her to Indiralogam. His visit to Indiralogam empowers him to predict the past and future of the earthlings. Because of his newfound powers of prediction, the crime rate in the human world declines and there is little work to do in the Yamalogam. Confused, Yamadharman confers the responsibility of investigating this mysterious turn of events to Lord Naradar (enacted by Nasser), who reveals the true cause. Angered by this, Vadivelu is cursed and turns into a 90-year old man.
Given the fact that Vadivelu’s huge chunk of fan population comprises of kids, the director could have avoided the top angles that conveniently feast on the bevy of beauties that encircle Vadivelu. Though Shriya looks good in her small role, the idea of having her play the necromancer doesn’t quite create the desired impact. Vandanam Vanakkam song by Vadivelu and company is quite natural. Thotta Tharani has done an admirable job with the sets, especially the Yamalogam.J. N. Jawahar’s editing is adequate, while Sabesh-Murali’s music with its tinge of 23-aam Pulikesi, is very mediocre. Costumer R. Murugan deserves a special mention, but for Vadivelu’s 90-year old act that deserved a little more attention.Indiralogathil might appeal to those who swear more by Vadivelu’s slapstick antics than his verbal wisecracks. Because there are hardly any verbal fireworks, and those few that are there, are submerged in the extravagance.
Verdict: A riot sans laughter!
Wednesday, January 30, 2008
Pidichirukku-Ashok, Visaka, Ganja KaruppuDirection: Kanagu Music: Manu RamesanProduction: Senbagakumar
Pidichirukku
Cast : Ashok, Visaka, Ganja KaruppuDirection: Kanagu Music: Manu RamesanProduction: Senbagakumar
Director Kanagu, erstwhile assistant director to Linguswamy, debuts with Pidichirukku for producer Senbagakumar. Incidentally, Kanagu assisted Lingusamy during the making of the much-delayed Bheema that is now making it to the theaters alongside Pidichirukku. The movie stars Ashok as the hero (in his second film, after the average grosser Muruga) and debutant Visaka as the heroine.
It’s a plot we are all familiar with: boy from a humble background falls in love with a rich girl, and the travails their love takes them through. Kanagu keeps this clichéd plot engaging by the fine little details he works into the script. The story begins with Ashok meeting with an accident when Visaka’s duppatta flies away and falls on him. Ashok happened to be traveling behind her in a bike. He owns a goods transport agency and this accident turns things topsy-turvy. Visaka’s sympathy for him predictably turns to love (in a by-the-numbers manner we’ve become accustomed to) and the ever so reluctant Ashok returns her love. But all the newfound happiness blossoming between the two is short lived when the girl’s father discovers their secret. A desperate attempt by Ashok to win her back leads to chaos. To get Visaka away from Ashok, her father takes voluntary transfer and the family leaves for Pune. By the time Ashok finds out, she is gone, leaving him shell shocked.
His long search for his love, and his toils to find her with the help of his friend (played by Kanja Karuppu) forms the rest of the story. All this leads to a pretty interesting but not entirely unpredictable climax.The events that lead up to the conflict in the screenplay seem well composed and without glitches (barring the aurally intolerable comedy by Ganja Karuppu). The second half is when the screenplay becomes a paradox, contradicting the hypothesis that it so far held and even banked upon. Only Ashok’s struggles to find Visaka are portrayed in detail, while her own pain at being separated is hardly depicted, making the audience second guess if their love is for real or is just one sided. (The script doesn’t make any attempt to explain it at the end either). An over-emphasis on the hero’s quest (while in Pune) for the heroine makes the second half a little disengaging, blotting an otherwise smooth narrative.
Ashok’s performance in the romantic scenes (especially when he is on the verge of losing hope of finding his beloved) shows consummate ease. A promising future lies ahead for this young actor. As for Visaka, there isn’t much to write home about except to note that she breathes life into the romantic scenes. Saranya as the heroine’s mother gives a standout performance, while Kanja Karuppu’s humor isn’t funny and is everything short of aural torture. He needs better writers to pen situations and lines that suit him. Sampath Raj who plays the girl’s father, an ex-service man turned customs officer, brings depth to his character. Though music by Manu Rameshan seems to be in tune with the movie, only two songs really make the cut.
Verdict: A love story purely for young lovers dying to see themselves in love stories about separation and longing.
Pidichirukku - Only first half
Cast : Ashok, Visaka, Ganja KaruppuDirection: Kanagu Music: Manu RamesanProduction: Senbagakumar
Director Kanagu, erstwhile assistant director to Linguswamy, debuts with Pidichirukku for producer Senbagakumar. Incidentally, Kanagu assisted Lingusamy during the making of the much-delayed Bheema that is now making it to the theaters alongside Pidichirukku. The movie stars Ashok as the hero (in his second film, after the average grosser Muruga) and debutant Visaka as the heroine.
It’s a plot we are all familiar with: boy from a humble background falls in love with a rich girl, and the travails their love takes them through. Kanagu keeps this clichéd plot engaging by the fine little details he works into the script. The story begins with Ashok meeting with an accident when Visaka’s duppatta flies away and falls on him. Ashok happened to be traveling behind her in a bike. He owns a goods transport agency and this accident turns things topsy-turvy. Visaka’s sympathy for him predictably turns to love (in a by-the-numbers manner we’ve become accustomed to) and the ever so reluctant Ashok returns her love. But all the newfound happiness blossoming between the two is short lived when the girl’s father discovers their secret. A desperate attempt by Ashok to win her back leads to chaos. To get Visaka away from Ashok, her father takes voluntary transfer and the family leaves for Pune. By the time Ashok finds out, she is gone, leaving him shell shocked.
His long search for his love, and his toils to find her with the help of his friend (played by Kanja Karuppu) forms the rest of the story. All this leads to a pretty interesting but not entirely unpredictable climax.The events that lead up to the conflict in the screenplay seem well composed and without glitches (barring the aurally intolerable comedy by Ganja Karuppu). The second half is when the screenplay becomes a paradox, contradicting the hypothesis that it so far held and even banked upon. Only Ashok’s struggles to find Visaka are portrayed in detail, while her own pain at being separated is hardly depicted, making the audience second guess if their love is for real or is just one sided. (The script doesn’t make any attempt to explain it at the end either). An over-emphasis on the hero’s quest (while in Pune) for the heroine makes the second half a little disengaging, blotting an otherwise smooth narrative.
Ashok’s performance in the romantic scenes (especially when he is on the verge of losing hope of finding his beloved) shows consummate ease. A promising future lies ahead for this young actor. As for Visaka, there isn’t much to write home about except to note that she breathes life into the romantic scenes. Saranya as the heroine’s mother gives a standout performance, while Kanja Karuppu’s humor isn’t funny and is everything short of aural torture. He needs better writers to pen situations and lines that suit him. Sampath Raj who plays the girl’s father, an ex-service man turned customs officer, brings depth to his character. Though music by Manu Rameshan seems to be in tune with the movie, only two songs really make the cut.
Verdict: A love story purely for young lovers dying to see themselves in love stories about separation and longing.
Pidichirukku - Only first half
Vazhthukal - Madhavan, BhavanaDirection: SeemanMusic: Yuvan Shankar RajaProduction: T. Shiva, Bhavana
Vazhthukal
Cast : Madhavan, BhavanaDirection: SeemanMusic: Yuvan Shankar RajaProduction: T. Shiva
There are only a handful of Tamil movies that deal with family values and even fewer that look at what happens to neglected and lonely parents after their children have married and moved away. It is this rare theme that director Seeman explores in Vazhthukal, which stars, among others, Madhavan, Bhavana, Venkat Prabhu and Vijayalakshmi.
The story begins with people searching for Madhavan, who is shown sitting in a train with his parents in a rather somber state. Cut to a flashback: Maddy is the CEO of Amma, a software company that supports several social causes. He is disillusioned about marriage after he sees the parents of his close friends seeking asylum in an old age home run by Amma. Their son deserts them when his selfish, hardhearted wife demands that they go to an old age home. Maddy's father lets him look for a bride himself. He is attracted to Bhavana, whom he spots in a TV programme that showcases young achievers. Her opinion on family values floors him completely. She even sings praises about her huge joint family with a host of brothers and their wives. Along with his friend and colleague, Venkat Prabhu, Maddy sets off to Bhavana’s college, hoping to woo her.
He runs through a variety of his usual romantic antics to make her fall for him. Maddy finally pounces on an opportunity that falls into his lap: to renovate her family house with the help of a leading interior designer. This way, he finally wins a place in her heart. This is when the movie reveals that this huge family headed by Bhavana’s grandfather is opposed to love marriages. How Maddy finds a place in the hearts of every family member and changes their mind about love forms the rest of the story.The plot unfolds in the most clichéd manner possible with all the characters seeming wax-like. The family seem flawless, the kind of people you don’t see in the real world but always see in the films of Vikraman. The idea of Maddy doing up the house’s interiors with tips from the interior designer seems amateurish, and the result isn't aesthetically pleasing either. For a movie with two major stars, Vazhthukal is also technically mediocre. The camera work is rather plain, and the songs only slow down an already sluggish narrative. Director Seeman seems to suggest that films are just a medium to express your opinions on society and its values.
The result, the movie pans out into a medium of propaganda rather than a visually rich, soulful narrative. Though the intention is good, his attempt to have no English words in the dialogues seems too contrived. The first half of the story is wasted in an elaborate introduction of all the characters and the plot reaches a (so-called) stage of conflict only well into the second half.Madhavan’s lively performance, though, is what keeps the film at least a little engaging. And his chemistry with Bhavana is the other saving grace in this listless movie. But even this is marred by Seeman's self-conscious poetic one-liners that make the romantic scenes appear more funny than sensual. Vijyalakshmi as the interior designer lends credibility to her character, while Venkat Prabhu's humor doesn't work at all. Yuvan's background score isn't too bad but it can't lift the movie from its tedium. Vazhthukal might have worked better in the 90s, when family movies were better appreciated.
Verdict: Sluggish and outdated and same as Vijay's Kathalukku mariyathai.
Vazhthukal - Belated
Cast : Madhavan, BhavanaDirection: SeemanMusic: Yuvan Shankar RajaProduction: T. Shiva
There are only a handful of Tamil movies that deal with family values and even fewer that look at what happens to neglected and lonely parents after their children have married and moved away. It is this rare theme that director Seeman explores in Vazhthukal, which stars, among others, Madhavan, Bhavana, Venkat Prabhu and Vijayalakshmi.
The story begins with people searching for Madhavan, who is shown sitting in a train with his parents in a rather somber state. Cut to a flashback: Maddy is the CEO of Amma, a software company that supports several social causes. He is disillusioned about marriage after he sees the parents of his close friends seeking asylum in an old age home run by Amma. Their son deserts them when his selfish, hardhearted wife demands that they go to an old age home. Maddy's father lets him look for a bride himself. He is attracted to Bhavana, whom he spots in a TV programme that showcases young achievers. Her opinion on family values floors him completely. She even sings praises about her huge joint family with a host of brothers and their wives. Along with his friend and colleague, Venkat Prabhu, Maddy sets off to Bhavana’s college, hoping to woo her.
He runs through a variety of his usual romantic antics to make her fall for him. Maddy finally pounces on an opportunity that falls into his lap: to renovate her family house with the help of a leading interior designer. This way, he finally wins a place in her heart. This is when the movie reveals that this huge family headed by Bhavana’s grandfather is opposed to love marriages. How Maddy finds a place in the hearts of every family member and changes their mind about love forms the rest of the story.The plot unfolds in the most clichéd manner possible with all the characters seeming wax-like. The family seem flawless, the kind of people you don’t see in the real world but always see in the films of Vikraman. The idea of Maddy doing up the house’s interiors with tips from the interior designer seems amateurish, and the result isn't aesthetically pleasing either. For a movie with two major stars, Vazhthukal is also technically mediocre. The camera work is rather plain, and the songs only slow down an already sluggish narrative. Director Seeman seems to suggest that films are just a medium to express your opinions on society and its values.
The result, the movie pans out into a medium of propaganda rather than a visually rich, soulful narrative. Though the intention is good, his attempt to have no English words in the dialogues seems too contrived. The first half of the story is wasted in an elaborate introduction of all the characters and the plot reaches a (so-called) stage of conflict only well into the second half.Madhavan’s lively performance, though, is what keeps the film at least a little engaging. And his chemistry with Bhavana is the other saving grace in this listless movie. But even this is marred by Seeman's self-conscious poetic one-liners that make the romantic scenes appear more funny than sensual. Vijyalakshmi as the interior designer lends credibility to her character, while Venkat Prabhu's humor doesn't work at all. Yuvan's background score isn't too bad but it can't lift the movie from its tedium. Vazhthukal might have worked better in the 90s, when family movies were better appreciated.
Verdict: Sluggish and outdated and same as Vijay's Kathalukku mariyathai.
Vazhthukal - Belated
Kaalai - tamil movie review - Simbu, vedika, Tarungopi, Uyir sangeetha, Nila, G.V. Prakash
Cast : Silambarasan, Vedhika, Sangeetha, NilaDirection: Tarun GopiMusic: G V. PrakashProduction: NIC Arts Chakravarthy
First things first. You wouldn’t expect a classic tale of movie making from a director – Tarun Gopi – whose previous credential include a hardcore commercial potboiler, Thimiru. Having said that, we did expect a racy entertainer with Simbhu’s return after a brief sabbatical creating enough and more hype. However, Kaalai, Tarun Gopi’s second venture and first with Simbhu is a classic case of too much in too little time. With too little scenes that substantiate the sense of logic, Tarun Gopi has royally squandered an opportunity.
Less said the better about the story. Simbhu shares his name with two other people - one villain and one cop-turned-baddie and the situations arising out of it promise enough curiosity for a while as soon as the movie opens. However, it eventually fizzles out when the movie takes a turn for better or for worse.
Seema – Simbhu’s grandmother – slays five men, mind you when she was only ten, since they flouted her father’s advices and distilled alcohol illegally in the village also involving in other shady activities. The villagers, for her noble act, consider her their head after her return from the prison and are peaceful under her reign. However, trouble crops up in the name of a police officer – Lal – whose ego is hurt when challenged by the fellow policeman’s son that he can’t find anything illicit in Simbhu’s village, ruled by the godmother Seema.
Lal tries - but to no avail - to nail somebody from the village for any charges and ends being thrashed up the villagers. Predictably, he returns back with a vengeance and in the dirty war, burns Seema alive. Enough reason for Simbhu to seek retribution for his loss. Simbhu returns to Chennai, uses the tried and tested formula to woo Lal’s daughter Vedhika, and after a couple of duets abducts her as a hostage on revenge of his grandmom’s death.With a script that has more holes than a fish net, it’s evident that Simbhu could just not help the ship from sinking. However, his mind-boggling stunt scenes and the dance sequences especially for songs ‘Kutti Pisaase’ and ‘Kaalai Kaalai’ are stupendously performed. Particularly, Kutti Pisaase might send his fans on a nostalgic trip to the good old days when Simbhu sang and danced ‘I am a little star’.Vedika’s character is left to deal with a few duets in measly outfits in exotic locales with an almost innocent face. Alas, she vanishes from the movie abruptly even before its end. Santhanam – Simbhu duo’s comic act has lesser than desired results.
Veteran Seema’s grandmother-godmother act refuses to fade after she is brutally charred alive in the movie. Sangeetha plays Simbhu’s aunt and yes, her role is of utmost importance. If you must insist, here is how. It’s only when she gets spanked by Lal that violence erupts uncontrollably in the village. Lal’s villainy seems to be born with him and he is prominent with his viciousness in the movie that is also swarmed with many other such likes. R.D.Rajasekar’s camera brings in unsullied frames of fresh locales during the duet scenes. G.V. Prakash stands out in two songs and scores an average for background music.
Had Tarun Gopi worked on the script for a taut screenplay coupled with some interesting twists, Simbhu’s Kaalai would definitely have been a joy ride. Verdict: Action - nothing more, nothing less
First things first. You wouldn’t expect a classic tale of movie making from a director – Tarun Gopi – whose previous credential include a hardcore commercial potboiler, Thimiru. Having said that, we did expect a racy entertainer with Simbhu’s return after a brief sabbatical creating enough and more hype. However, Kaalai, Tarun Gopi’s second venture and first with Simbhu is a classic case of too much in too little time. With too little scenes that substantiate the sense of logic, Tarun Gopi has royally squandered an opportunity.
Less said the better about the story. Simbhu shares his name with two other people - one villain and one cop-turned-baddie and the situations arising out of it promise enough curiosity for a while as soon as the movie opens. However, it eventually fizzles out when the movie takes a turn for better or for worse.
Seema – Simbhu’s grandmother – slays five men, mind you when she was only ten, since they flouted her father’s advices and distilled alcohol illegally in the village also involving in other shady activities. The villagers, for her noble act, consider her their head after her return from the prison and are peaceful under her reign. However, trouble crops up in the name of a police officer – Lal – whose ego is hurt when challenged by the fellow policeman’s son that he can’t find anything illicit in Simbhu’s village, ruled by the godmother Seema.
Lal tries - but to no avail - to nail somebody from the village for any charges and ends being thrashed up the villagers. Predictably, he returns back with a vengeance and in the dirty war, burns Seema alive. Enough reason for Simbhu to seek retribution for his loss. Simbhu returns to Chennai, uses the tried and tested formula to woo Lal’s daughter Vedhika, and after a couple of duets abducts her as a hostage on revenge of his grandmom’s death.With a script that has more holes than a fish net, it’s evident that Simbhu could just not help the ship from sinking. However, his mind-boggling stunt scenes and the dance sequences especially for songs ‘Kutti Pisaase’ and ‘Kaalai Kaalai’ are stupendously performed. Particularly, Kutti Pisaase might send his fans on a nostalgic trip to the good old days when Simbhu sang and danced ‘I am a little star’.Vedika’s character is left to deal with a few duets in measly outfits in exotic locales with an almost innocent face. Alas, she vanishes from the movie abruptly even before its end. Santhanam – Simbhu duo’s comic act has lesser than desired results.
Veteran Seema’s grandmother-godmother act refuses to fade after she is brutally charred alive in the movie. Sangeetha plays Simbhu’s aunt and yes, her role is of utmost importance. If you must insist, here is how. It’s only when she gets spanked by Lal that violence erupts uncontrollably in the village. Lal’s villainy seems to be born with him and he is prominent with his viciousness in the movie that is also swarmed with many other such likes. R.D.Rajasekar’s camera brings in unsullied frames of fresh locales during the duet scenes. G.V. Prakash stands out in two songs and scores an average for background music.
Had Tarun Gopi worked on the script for a taut screenplay coupled with some interesting twists, Simbhu’s Kaalai would definitely have been a joy ride. Verdict: Action - nothing more, nothing less
Ajith's new films - with Raju sundaram -Ayngaran-sheduled in Chennai
After the astounding success of Billa and the birth of his baby girl, Ajith is back to business. His upcoming untitled film is being directed by Raju Sundaram and produced by Ayngaran International. The crew left for Hong Kong after Pongal to can a few stunt sequences. Although the unit had planned their shooting for a month, it
is reported that they have completed their schedule much before the allotted time and now they are back in Chennai. The second schedule of the film is slated to commence from 6th of February and no marks for guessing who is the happiest person to be shooting in Chennai. Yes, it is our very own Ajith who is not missing a single opportunity to be with his baby girl. Unit sources reveal that the actor is thoroughly enjoying his fatherhood and the glow shows on his face.
is reported that they have completed their schedule much before the allotted time and now they are back in Chennai. The second schedule of the film is slated to commence from 6th of February and no marks for guessing who is the happiest person to be shooting in Chennai. Yes, it is our very own Ajith who is not missing a single opportunity to be with his baby girl. Unit sources reveal that the actor is thoroughly enjoying his fatherhood and the glow shows on his face.
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