Star-casts: Karthi, Thamannah, Millind Soman, Jagan, Omar and othersBanner: Tirupathi BrothersProduction: Subash Chandra BoseDirection: LingusamyMusic: Yuvan Shankar RajaCinematography: Madhi
From the maker of ‘Anandam’, ‘Run’, ‘Ji’, ‘Sandakozhi’ and ‘Bheema’, here comes a disappointing film ‘Paiyya’ that in no way holds a special mention for its clichéd storyline and narration. The film isn’t nowhere different from Lingusamy’s previous films’ plots –say –Run and Sandakozhi as you can find the similarities with an ease.
The film opens well with an entertaining approach, but literally sets itself on contrastive grounds during the second half. When Vijayakanth, Sarath Kumar, Arjun and Vijay rolled down the hefty henchmen at the same time at various Indian States, Karthi too joins this bandwagon.
Doubtlessly, he’ll be one amongst them if he continues performing fight sequences of not getting hurt at any point of time.
Shiva (Karthi) set outs for a job interview in Bangalore and stays with his friends over there. Coming across a beautiful girl Charu (Thamannah) with angelic looks, he cannot afford to stop following her. But his senses are high-spirited, when the same girl asks him to drive her to Mumbai mistaking him as a driver. The girl is accompanied by a Telugu speaking Gunda, who is dropped on the half way. And as the journey continues, Charulatha shares her deplorable flashback thereby winning a great support from Shiva.
At a crucial point on highway, where the henchmen are looking out for her, he takes a different route only to find other gang of bullies chasing the car. This time, it’s not for Charu, but they are hunting down for Shiva.
What follows next is a series of yet another flash back (just like Dhanush comments on Vivek in ‘Padikadhavan’ – Flashback Onnum Appadi Weighta Illayee) that leaves you restless yearning for the end credits.
Lingusamy has committed two biggest flaws – penning a threadbare story that has no life in screenplay, especially during second half and completely wasting the efficient skills of Bollywood actor Millind Soman. Karthi’s mannerisms are same as his emoting quotients in ‘Paruthiveeran’ and ‘Aayirathil Oruvan’. He has to come out of that box or else will get labeled with a degradable verdict for his stereotyped performance.
Here we bring you one more flaw about Thamannah’s characterization. If Lingusamy had to portray her as wonderful girl, who doesn’t even want the guy to take a look over her hips (during second half, prior to ‘Sutthude Sutthude’ song), how does she dance with such a skin show for ‘Adada Mazhaida’ in first half itself.
Lingusamy, quite Illogical Ji…
Millind Soman shouldn’t have picked this offer and maybe it looks like he was badly in need of pocket money to pick such roles. Hope, his Bollywood buddies don’t watch this film. Jagan’s characterization is okay, though his comedy tracks aren’t so much convincing.
How come our filmmakers are still brimmed with dim-witted ideas about a hero moving into territories of Andhra Pradesh and Mumbai and easily smashing down them? It’s time to grow up.
Yuvan Shankar Raja’s musical score is the one and only highlighting part as he adds more colors to the youthful touch. Mathi’s cinematography is magnificent while Anthony’s editing flawless as he avoids using immediate cuts and plug-in gimmicks.
The first half is somewhat commendable as there are more characterizations involved in lively conversations. Especially, the IT guy getting into the car and wooing down Thamannah is an abrupt laugh-riot. But as the second hour opens with an unjust flashback, nothing seems to be doing well for the film.
Since, there aren’t any big releases at this point of time; the producers can somehow push the film’s survival for next 100 days. Of course, they might have got ready with the 100th Day posters for the film by now.
Bottom - Line: You Blood - Same Blood
Verdict: Karthi Hitting “Villains Flying”
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