Lingaa (Music)

When Thalaivar and ThalaivAR come together for a soundtrack, expectations rise to the zenith. This year, Lingaa is here. Here is what I think about the five songs from the film.

Oh Nanba: Singers – SP. Balasubramaniam, Aaryan Dinesh Kanagaratnam, Lyrics – Vairamuthu (PICK)

AR Rahman starts the album with this track which has a Spanish/Salsa base to it. With the EDM beat at the background, Rahman picks the frontrunner for Thalaivar’s intro songs to croon this one. Though I would have loved more of ADK in the mix, SPB’s superb rendition takes this through. Watch out for the Arabic and string bits which are effortlessly fused into the composition.

En Mannava: Singers – Aditi Paul, Srinivas, Lyrics – Vairamuthu (PICK)

Being the love duet set in the historical portion, Rahman ropes in a Hindi flavour to this track. With the lovable vocals of Aditi Paul which come with Srinivas’ able support, this song ends up being a beauty. Vairamuthu’s lyrics add a wonderful essence to the song, which has the classical interludes as the icing on the cake.

Indiane Vaa: Singer – AR Rahman, Lyrics – Vairamuthu

Though ‘Indiane Vaa’ brings back memories of the composer’s tunes in Kochadaiyaan, Rahman and his flawless rendition are more than enough to keep this song in the ring. Vairamuthu’s inspirational lyrics which stress on the importance of water and the feeling of togetherness do convey the intentions well. Towards the end, the song does get a tad too lengthy and crawls towards its finish.

Mona Gasolina: Singers – Mano, Neeti Mohan, Tanvi Shah, Lyrics – Madhan Karky (PICK)

If you were waiting for the point where AR Rahman gets unpredictable and goes crazy, it is right here. Mona Gasolina is an out-of-the-box track which is rocketed up with Mano’s vocals, the ante rising with the passing second. His voice modulation along with Neeti’s and Tanvi’s stylish rendition take this peppy track to an enormously entertaining level. Smart work from Madhan Karky too!

Unmai Oru Naal Vellum: Singer – Haricharan, Lyrics – Vairamuthu

The only track in the album with no recall value. Even though Haricharan tries to keep this going, the song gets monotonous and goes stale. To be frank, this doesn’t even sound like an ARR composition.

Lingaa is a sparkling soundtrack, with its own share of innovation and enjoyable moments. Albeit being far from AR Rahman’s best, the composer has come up with a fitting soundtrack for a commercial movie. The songs will surely get onto you with repeated hearings, and sound even better with the visuals. Lingaa isn’t among the golden club of AR Rahman, but at the same time, it is by no means a bad album.

The mozart churns out another entertaining album for the Superstar!

3.5 / 5

Thirudan Police

Films on father-son relationships in Tamil cinema are abundant, and Thirudan Police is the latest addition to the long list. Though this is a tried and tested formula, debutant director Caarthick Raju comes up with a novel screenplay which keeps the viewer engaged for most parts.

Thirudan Police starts off with Attakathi Dinesh being projected as a wastrel, who steals money from his dad’s pocket and creates havoc by picking a fight with a neighbour. Dinesh has no respect or affection for his father (Rajesh) who is introduced as a honest police constable who lives up to his name. A play of politics inside the department, and Rajesh is planned and murdered by a local goon. Dinesh gets the job of the constable thanks to the kind hearted higher official (Aadukalam Naren), and from thereon, Thirudan Police is the story of how Dinesh avenges his father’s killers.

Although Thirudan Police begins on a predictable note and a dash of melodrama, it slowly turns into an interesting film which doesn’t let you squirm. One may find faults with the love tracks or dragged action sequences, but otherwise, this is a film with its own share of comedy, entertainment, sentiments and what not. The director saves his best for last, offering a final 30 minutes where the heads of the cast come together to create a laugh riot. Kudos to director Caarthick Raju for coming up with a different climax, contrary to other films where the screenplay paves way to the stunts.

Attakathi Dinesh might just be the right pick for the role, as the script demanded a hero who looked just enough convincing to play a constable. Emotions come very easily to him, and he is able to depict a variety of expressions onscreen. Ishwarya Rajesh is a neat heroine, but one does have the doubt whether the film really needed a love track. But the show stealers in Thirudan Police are Naan Kadavul Rajendran and John Vijay who bring the roof down with their timely comics. Their dialogues in the climax will surely stay in your head once you walk out of the cinema hall. Apart from them, Thirudan Police boasts of some impressive performances from veterans like Aadukalam Naren and Rajesh. Even SPB’s cameo, comes at an important point and is likable too.

Technically, the film has decent cinematography, added with bright DI. The crisp editing does not let the film wander at any point, at a runtime of two hours and a quarter. Music by Yuvan is peppy, as it becomes enjoying coming with acceptable song placements. The composer has seriously tried out something new for the background score, as it ups the ante of the film, be it the serious portions or the comic ones.

Caarthick Raju must be lauded for his matured dealing of the script, which will surely take him places if continued in the future. Thirudan Police is a good watch for the weekend, as it is an enjoyable film which will surely put a smile on your face. 

Taut police.

3 / 5

Isai (Music)

SJ Suryah’s Isai is becoming an interesting film to watch out for, after the release of the trailer which garnered some attention. The music of the film released today, let’s take a look at how it sounds.

Puthandin Mudhal Naal Idhu : Singer – SJ Suryah, Lyrics – Madhan Karky

With a catchy tune at the start, this song goes on to become a grand listen. The beats and the electric guitar blend pretty well with SJ Suryah’s hard vocals, finishing on a compelling note.

Isai Veesi : Singer – Chinmayi, Lyrics – Madhan Karky ( PICK )

Here comes the best track in the album. Chinmayi’s vocals are the USP of this number which has a watery aura all around. The lyrics are another asset, making this a hauntingly beautiful one to lend your ears to.

Atho Vaanile Nila : Singers – Karthik, Chinmayi and Deva, Lyrics – Madhan Karky

Although the beat at the beginning sounds similar to ‘Nila Adhu Vanathu Mela’, this track is a listenable one thanks to Karthik’s and Chinmayi’s vocals. Deva’s bit towards the end is a pleasant surprise.

Nee Poiya : Singer – Vijay Yesudas, Lyrics – Madhan Karky ( PICK )

SJ Suryah’s attempt to make a track in pathos turns out on the greener side. With minimal instrumentations and matured rendition from Vijay Yesudas, Nee Poiya is a moving number.

Dirty Dancing : Singer – Shalini Sing, Lyrics – Shalini Sing, Georgia Sing

A pedestrian kuthu song with unimpressive vocals and lyrics. Skip!

Themes : Singer – Chinmayi

SJ Suryah comes up with three themes, with are belted with impressive instrumentations and controlled vocals from Chinmayi at the background.

SJ Suryah’s Isai is a mixture of impressive sounds and tunes. The composer must be praised for keeping the orchestrations within control and offering good space for his singers to take charge. Isai is a neat debut for the director/actor as a music composer.

An impressive and interesting debut!

3 / 5

Kayal (Music)

Prabu Solomon and D. Imman. After two outstanding albums in Mynaa and Kumki, the duo are back for their next, which is a love story set in the backdrop of the 2004 Tsunami. How are the songs this time?

All lyrics have been penned by Yugabharathi.

Paravaya Parakurom : Singer – Haricharan ( PICK )

One more gem to add to Haricharan’s long list of impressive songs this year. The orchestrations fit the vocals to perfection, making this a flawless track on all terms.

Yengirundhu Vandhaayo : Singer – Shreya Ghoshal

A lilting melody sung in a gloomy aura. The music slowly climbs up on the tempo ladder, along with some beautiful violin leading to the tabla. Shreya’s voice is an asset to this one.

Koodave Varamaadhri : Singer – Alphonse Joseph

A track on the slower note, which is rendered well by Alphonse Joseph. Passable one, this.

Yen Aala Paaka Poren : Singer – Shreya Ghoshal, KG Ranjith

Shreya Ghoshal is back with a stupendous rendition in Yen Aala Paaka Poren, which is tossed across a healthy mix of simple and organic instrumentations.

Unna Ippo Paakanum : Singer – Haricharan, Vandana Srinivasan ( PICK )

This is where Imman brings all his talent together. The tune, orchestrations and the vocals gel so well along with the lyrics, making this a heavenly listen.

Deeyalo Deeyalo : Singer – Oruthanodu Gopi

A folk track which is a regular in Prabu Solomon’s films. And it stays regular at that.

Yenga Pulla Iruka : Singerr – Balram ( PICK )

Lovable end to the album, with a cry of a man who is in search of his love. Balram’s vocals add flavour to the track, which boasts of some brilliant chorus bits.

Though Imman doesn’t venture out of his usual base and style of music, Kayal is a soothing journey for lovers of the melodious genres. The album is replete with live instrumentations and the composer’s choice of talented renderers. Belted with Solomon’s visuals, these songs will surely create magic on the screen.

A concoction of emotions, in trademark Imman style.

3 / 5

Anegan (Music)

KV Anand is back with Anegan, which has Dhanush in the lead role. Touted to be a film with Dhanush playing four roles in four different time periods, Anegan has music by Harris Jayaraj. Let’s look at how the tunes have cropped up for the film.

Danga Maari : Singers – Dhanush, Marana Gana Viji, Naveen Madhav, Lyrics – Rokesh ( PICK )

An exciting kuthu track to start things off. The trumpet sounds gel well along with the beat and are used effectively, especially in the interlude after the first stanza. Dhanush’s works on the mic are the best parts of the song, and the other two singers aid him well and make the listener wait for the high point. Rokesh’s lyrics are local at the lowest levels, something mandatory for this type of a song. Instant winner!

Roja Kadale : Singers – Shankar Mahadevan, Chinmayi, Sunidhi Chauhan, Lyrics – Vairamuthu

Once again, Harris isn’t original with his beat here. The concoction of the laudable lyrics and the vocals don’t go to well here, making this just a passable track.

Aathaadi Aathaadi : Singers – Bhavatharini, Tippu, Dhanush, Abhay Jodhpurkar, Lyrics – Vairamuthu

Though Harris directly rips off his tune from one of last year’s best songs, Aathaadi Aathaadi is a soothing melody to lend your ears to. The choice of singers are probably the USP here, along with Vairamuthu’s stellar lyrics which create a likable aura.

YOLO - You Only Live Once : Singers – Shail Hada, Ramya NSK, Richard, Lyrics – CS Amudhan

On the lines of Shaggy’s hippie beats, YOLO comes off as a shot at a calypso number. But the song gets disinteresting as it goes, and fails to excite as much it intends to. Though this is a new attempt, it falls flat and dies out without creating an impact.

Thodu Vaanam : Singers – Hariharan, Shaktisree Gopalan, Lyrics – Vairamuthu ( PICK )

Harris is always known for his melodies, and atleast one enjoyable song is sure to come your way. In that array comes Thodu Vaanam, which has Hariharan at his best. A completely likable track, which has assets like Shaktisree’s voice and Vairamuthu’s lyrics to its name.

Deivangal Ingae : Singer – Sriram Parthasarathy, Lyrics – Kabilan Vairamuthu

Harris keeps this light, with a simple tune which offers a lot of space for Sriram Parthasarathy to score. The sweet additions of the female chorus and chime sounds make this number a harmless one on the whole.

Though Anegan is not Harris’s best in recent times, the album offers a good blend of commercial music. Yes, the composer has taken a leaf out of many other songs, but the end result is satisfying and surely won’t be a tiresome watch on the big screen. Anegan ends up on the safe side, an album which will hold on until the film comes by.

Borrowed ingredients, likable curry.

2.75 / 5

Oru Oorla Rendu Raja

In one of the comic sequences of the film, Soori tells Vemal to join Facebook and Twitter. And our so called street smart hero replies by saying “Adhula laam sera evlo da selavu aagum?”. Yes my dear friends, Oru Oorla Rendu Raja is replete with jokes of this kind, some even worse.

OORR begins as a no-brainer, just like many other films which have been churned out in the past. Vemal and Soori are introduced as two happy-go-lucky fellas, who happen to catch a train thanks to an inane flashback story. Director R.Kannan does spray some spice with Priya Anand’s entry, as the story takes an interesting turn with the actual plot coming into play. Vishaka Singh has a good role here, with an important issue as the pivot. But once that’s wrapped up, it moves onto a rather predictable and uninteresting track filled with clichés and unnecessary commercial infusions. Kannan’s inability to grip the viewer with an engrossing screenplay hits back at him, the film is devoid of a clap worthy moment on the whole.

Walking out from his earlier films and walking into this one, Vemal continues to be the stick. The amount of expressions on his face are just a handful, as there is nothing to take away from his part. Soori continues to be the annoying piece, as his character keeps reciting one-liners which receive a straight face. However, one must laud him for his dancing skills which have gone up by a mile. Priya Anand is the saving grace of OORR. With more screen space than the heroes, her character in the film has been penned well, with a notable amount of maturity and scope to perform. Nasser has one of his worst makeovers ever, accompanied by Anupama who has the same grumpy expression to showcase throughout the film.

Cinematography by PG.Muthaih is neat, except for the overdose of aerial shots. The songs have been shot with a lot of colors which make them visually appealing, especially Mazhakaatha and Sundari Penne. Editing is decent at just over 2 hours, as pulling the film anymore would have made it a drag. Imman’s work in OORR is on the positive side, helping the film with both the songs and the BGM.

Oru Oorla Rendu Raja ends up being the film we all thought it would be. After an impressive debut in Jeyam Kondaan, it is saddening to see Kannan coming up with trashbags like Kanden Kadhalai, Settai and this one. At the end of the film, a card pops up saying ‘Save Human’. I’m hoping the director didn’t mean the audience.

One city two kings. One review two stars. 

2 / 5

Poojai

Poojai comes up as Diwali’s ‘overflow’ release. Produced by Vishal with himself as the lead, the film boasts of an ensemble starcast, and Hari’s usual tech team. So what works, and what doesn’t?

Poojai is a cocktail of Hari’s earlier films (excluding the cop stories). The film follows the usual commercial routine of comedy, songs, fights and family sentiments. Hari spins his story around a flurry of characters, linking them up to each other and finally sorting things out. Thanks to the lead pair Vishal and Shruti Hassan, the film is watchable throughout. While Vishal keeps it going with his manly acts, Shruti and her cute expressions provide the much needed ‘aww’ moments. The comic track which includes Soori, Pandi and Imman Annachi never manages to tickle the funny bone, except for a few one-liners. Sathyaraj and Radhikaa Sarathkumar do have notable roles to play here, but their characterisation is half baked, which results in an average final note. The rest of the cast which includes Abinaya, Thalaivasal Vijay, JP and more do fit the bill well.

Technically, Poojai is just decent with mainstream cinematography and hurried editing. The stunts are the solace in Poojai, executed well by Vishal. Music by Yuvan is pedestrian, and his stale re-recording adds to the worries.

Director Hari sticks to his basics and comes up with yet another film on the same lines as his previous ones. Poojai has some interesting moments here and there, but the excitement is brought down with the insertion of forced comic sequences and unwanted melodrama. Had the director concentrated on bringing in some more brain into the script, the film would have ended up becoming a racy tale to watch. Right now, it just ends up being a commercial entertainer to watch if you have nothing else to do.

Customary commercial potboiler!

2.25 / 5