CHITHIRAM PAESUTHADI

Hats off to Director Myshkin (originally Raja; Prince Myshkin of Dostoevsky’s Idiot, impressed him so much that resulted in his change of name) for Chithiram Paesuthadi, his debut venture, aptly supported by all the cast and crew. The title itself, a cream slice from an yesteryear melody Chithiram paesuthadi, yen Chinthai mayanguthadi…(sung by T.M.S. in Sabash Meena), throws a picture of a love story unfolding to come.

After working in several projects on love – Kadhal Daesam, Kadhalar Dhinam, Kadhal Virus (all under Director Kathir), yet Myshkin does not seem to be carried away by love-crazy themes. Here he does not harp on love alone, he tries to offer something beyond that, though not new.

The story is all about the love between a henchman (Naren) to a city Dada and a compassionate and socially conscious middle class girl (Bhavana), who brings about a change of heart in the former and also convinces to get the nod from her father for the marriage. But in the turn of events, the romantic climate evaporates and a revulsion state sets in as Bhavana doubts the integrity of the Naren and further holds him responsible for the suicide of her father. The utterly dejected Naren has no other go, but to return to the underworld. Incidentally, Bhavana’s uncle, her only guardian, tries strenuously to offer her fresh lease of life by arranging marriage with one Bank personnel. At this point, the Dada comes into picture proposing her for his son and threatens to sabotage the engagement arranged by her uncle. He assigns his henchman Naren, to his utter dismay, the task to ensure that his son gets Bhavana by hook or crook. Kidnaps, stunt all follow with tense moments….whether Naren and Bhavan join is the climax.

An impressive debut for both Sunil Kumar (in the titles it is shown as Naren) and Bhavana. Thandapani lacks the ferocity of the present day Dadas (why the director preferred Pithamagan Mahadevan to do a soft role instead, I don’t understand). All the new faces we see in the movie are very natural, kudos to Mishkin for not depending on a Vivek or Vadivelu. However, the occasional comedy of one of the accomplices of Naren never fails to bring laughter. Yet, Bhavana simply outsmarts the rest with her splendid performance throughout the movie, expressing appropriately the emotions, be it love, affection or hate. Surely this will fetch her good number of roles in coming days in Tamil cinema.

Also another worth mentioning name is Music Director Sundar C. Babu, also a debutant. His music throughout the movie was remarkable. Apart from the theme music, the duet `Idam porul paarthu, idhyaththai maathu…’ rendered by Karthik-Sujatha and ‘Pattam Puchi….’ Timmy, Ranjit with chorus are the best. Also, Gaana Ulaganathan makes his mark in the scene with his song Vazha meenukkum… fitting the scene.

Bottom line: A decent film, neat narration, minimized violence, fabulous Bhavana and gentle music, worthwhile to watch.


KOVAI BROTHERS

Oh God! I am sorry. Oh Periyar! `Lollu’ of Sathyaraj is unbearable. And his son Sibiraj has to learn from somewhere what acting is all about, prior to appearing before the camera. Sakthi Chidambaram is directly responsible for this rotten work (hope u will not ask me why i saw this film?)