Enakkul Oruvan Movie Review

Non-linear narrative films have rarely worked in Kollywood, as they've fallen to bad execution, logical loopholes or other blips in the making. Taking the paperwork from the Kannada blockbuster Lucia, Prasath Ramar's Enakkul Oruvan hits the screens today. Lucia was a complicated film which needed a lot of clarity to be represented, does the remake live up to that?

Enakkul Oruvan follows Vignesh, a torch light shiner who also happens to be an insomniac. The incidents that take place when he goes in search of his sleep is what the film is all about. Taking charge of a multi layered screenplay, newcomer Prasath Ramar has taken immense care to avoid any open turns which leave the audience in a confused spot. Shifting back and forth between two stories, the proceedings never lose their path and stay coherent until the end. Apart from the director's work, the award worthy editing helps the movie in a huge way, without which there would have been a lot of questions arising in the mind of the viewer.

When it comes to performances, Siddharth walks away with all the glory, as he is absolutely brilliant in the contrasting roles. Showing great variation between the two characters, he manages to pull off both the acts of a star and a low-man easily. Sid can be proud of Enakkul Oruvan, a film worth boasting as his 25th. Deepa Sannidhi isn't the best pick for this role, but manages to pass muster with her performance. The film has a notable ensemble cast with the likes of Naren, Ajay Ratnam, Srushti Dange etc who put up a good show.

Technically, the film is rock solid with stunning cinematography, music and DI. Gopi Amarnath's commendable camerawork is evident in the black and white scenes where he aesthetically captures the surroundings without losing focus on the main characters. Editing by Leo John Paul is the linchpin of the film, maintaining a perfect flow in the narration and juxtaposing both the stories in tandem. The beginning of Poo Avizhum Pozhudil is an example of what is being talked about here. The artwork deserves a special mention for bringing in the required aura without spending too much.

Music by Santosh Narayanan is top notch, both in terms of the songs and the BGM. While the songs recieve good visuals, the BGM is nothing less than eerie and haunting, sometimes alarming. Sound designers Vishnu Govind and Sree Sankar have put in their efforts to purify the ambient noises, thereby providing a surreal experience.

Enakkul Oruvan is a convincing product from CV Kumar and team. Almost every individual has put in his best and the result is a positive one. While the slow pace of the film remains an issue for some, a few others may find it confusing and over-the-head. Drawing comparisons to the original, Enakkul Oruvan finds itself a tad behind. However, Prasath Ramar manages to join the dots, making this a film which deserves your eyes. Go watch it. Do not forget your brains.

Verdict: Refreshing cinematic experience.

3.25 / 5

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Uttama Villain Music Review

Loveaa Loveaa: Singers – Kamal Hassan, Sharanya Gopinath, Anitha, Nivas

Ghibran starts off things in wondrous fashion with Loveaa Loveaa, a fast-paced love number. The buzzing chorus is a first of sorts along with the interesting interludes which are drum heavy. Kamal Hassan’s energetic vocals sync so well with the music and are well aided by the other singers. Ghibran has a Telephone Manipol of his own now.

Kaadhalam Kadavul Mun: Singer – Padmalatha

Ghibran brings in Padmalatha of ‘Aruvakaaran’ fame for a solo melody in Kaadhalam Kadavul Mun. Along with a lilting chorus, the singer takes centre stage in a typical Gibran track which impresses with the simple instrumentations.

Uttaman Introduction: Singers – Subbu Arumugam, Kamal Hassan

With a native tune and ethnic lyrics, Subbu Arumugam and Kamal Hassan put together an impactful intro song for the Uttaman. Ghibran must be lauded for the lavish use of live instruments which do help in bringing out the actual essence of the song. The final moment is a scream with the ‘Thangara Thangara’ beat upping the ante.

Saagavaram: Singers – Kamal Hassan, Yazin Nizar, Ranjith, Iyappan, Ghibran

In Saagavaram, you have Kamal Hassan with a handful of supporting singers who work as a chorus. The end result, is a moving track which is packed with sword sounds, innovative musical cues and what not. With added listens, the track grows on you and makes you love it even more.

Iraniyan Naadagam: Singers – Kamal Hassan, Rukmini Ashok Kumar, Performed by Sofia Symphony Orchestra

Kamal Hassan puts his pen to captivating use in Iraniyan Naadagam, a track which is the soundtrack of a live play. Without going off track, the symphony is blended beautifully with the orchestration. Strings, keys and drums come into play in flawless tandem, working its way to a fine finish.

Mutharasan Kadhai: Narrated by Kamal Hassan, Additional Vocals – Yazin Nizar, Ranjith, Iyappan, Padmalatha, Performed by Sofia Symphony Orchestra

This track traverses through the story of Mutharasan, and narrates an episode in his life. Though it is wholly film oriented, the track offers some well panned out music if you lend your ears along with some concentration. Sure to work with the visuals!

Uttaman Kadhai: Narrated by Kamal Hassan, Additional Vocals – MS Bhaskar, Yazin Nizar, Ranjith, Iyappan, Performed by Sofia Symphony Orchestra

With grand musical arrangements and the use of the Uttama Villain theme, Ghibran pulls off a coup in Uttaman Kadhai. After a slow start, the track rises tempo halfway and jolts towards an impressive finish. The song ends with some lighter keynotes, pretty neatly.

Original Soundtracks

The Uttama Villain theme is a fitting theme track for an album of this calibre. With a haunting chant and a surreal mood, this one is a complete winner.

Guru and Sishya is probably the background for the early scenes involving Kamal Hassan and K. Balachander. Decently planned and executed.

Father and Daughter is a simple track which is mostly played out by the symphony instruments. Harmless!

A flute-dominant starts then turns into a fairy-tale jingle in Uttaman and Karpagavalli. Ghibran adds a Disney-like flavour to the song at the end, making it a touch different from the others.

Piano comes into play in Father and Son, where a rather pedestrian tune receives an eerie female hum.

Letter from & to Yamini is a theme which brings forth a lovely aura to the scene. Ghibran has gone places with this one!

Dr. Arpana is a good closing note to the OST from Ghibran, albeit being similar to the other themes.

Summary: Without concentrating on the hit quotient, Ghibran has transcended barriers to provide a sublime OST. The songs boast of innovation, brilliant use of instruments and a striking coherence between the vocals and the orchestration. Uttama Villain is truly gen-next music from the composer!

Verdict: Impressively inventive music!

4.25 / 5

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Kaaki Sattai Movie Review

There's always a time when an actor decides to wander out of his comfort zone and find a place in a film which will both satisfy his fans and shut his critics. In the case of Sivakarthikeyan, comedy has always been his playground. With Kaaki Sattai, the actor tosses a stone at something across the boundary. How has that worked out? Find out in our Kaaki Sattai review. 

Kaaki Sattai is the latest addition to the long list of honest cop stories in Kollywood. The film follows Mathimaran, as he finds a so called strong case and solves it. Unfortunately, the end product only entertains in parts with nothing new to offer. Director Durai Senthilkumar has a palette of comedy, action, sentiment and romance. But somewhere into the film, the mixing is inappropriate. Here is where the director draws a thin line between a comic cop and a serious one, finally failing to walk the tightrope.

Sivakarthikeyan plays the role of the cop with elan. Fit as a fiddle, the actor never looks out of place in a film with enough action and 'mass' scenes. His comic timing and bubbly mannerisms are a joy to watch at all points of the film, as usual. There are a lot of enjoyable pull-ups like selfies, dialogues from other films and even the viral Hara Hara Mahadev Ki which are executed by the star in a superb way. Sadly, it is the characterisation which takes away the excitement from the offering. Sridivya is a doll in this film, and looks absolutely alluring in the flashy costumes and songs. However, her role isn't meaty in the second half as she is ostensibly absent from the proceedings. While Imman Annachi recites some catchy one liners at times, Vijay Raaz as the villain is pretty ordinary. The rest of the supporting cast are adequate, with a special mention to Prabhu who makes a mark in his role.

Kaaki Sattai is technically so cool, with stunning frame presentation by Sukumar. Be it the songs or the action sequences, the film looks bright and is captured very well on cam. Editing by Vivek Harshan is good, still some more scissors on the runtime would have helped this one. Stunts are neatly done, the rain fight is undoubtedly the pick of the lot. Music by Anirudh is a big plus as the synth themes work superbly with the flow of the film. If not for him, Kaaki Sattai would have been a squirm.

With impressive dialogue writing by Pattukottai Prabhakar, Durai Senthilkumar packs a decent entertainer in Kaaki Sattai. But it does have its limits. The film is made on the tried and tested commercial formula, with little or no big surprises in store. Had the director concentrated on providing a serious cop story in the second half atleast, Kaaki Sattai would have been so much better. What we get now, is fun at places and stale at the others. You can meet Mathimaran, once.

Verdict: Selectively entertaining!

2.75 / 5 

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