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தமிழ்த் திரைப்படத் தொகுப்பு
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தலைப்பக்கம்   திரைப்படம்   நட்சத்திரம்   அங்கத்தினர்  
               
திரைப்பட விமர்சனம்: அல்லி அர்ஜூனா (2002) திரைப்பட விவரம்
Rate movie A movie review by Balaji Balasubramaniam
ரசிகர் மதிப்பெண்: 60%%60%% 60% (19 வோட்டு)
Movie Still Bharatiraja seems determined to leave no stone unturned in making his son Manoj a leading man in the Tamil film industry. Once his own ambitious Taj Mahal flopped, he hired Saran, who has three substantial hits under his belt, to direct Manoj's movie. The result is Alli Arjuna, which has finally seen the light of day. But the quality of the product indicates that instead of increasing Manoj's stock, the movie is just going to drag Saran's stock down.

Arivazhagan(Manoj) has grown up to be a rowdy because of neglect and ill-treatment at the hands of his parents and his only aim in life is to be an irritant to his father. The entire family attends the marriage of Savitri(Richa) in Bangalore and when the groom disappears, Arivu offers to take his place. The marriage never happens but Savitri shows up at Arivu's house later, asking him to give her refuge. When he moves out of the house to take up residence with his friends, she follows him there too. Initially irritated by her, Arivu realises that he is gradually falling in love with her. Meanwhile, the friends learns that Savitri left her own surroundings just to get over the gruesome suicide of her friend Nisha(Preetha), a victim of eve-teasing.

For a while the movie does satisfy the anticipation raised by Saran's name on the credits. The drama at the marriage hall and the actions of both Manoj and Richa are fun and a little unexpected. After the cinema theater in Amarkkalam and the PTC buses in Paarthen Rasithen, Saran once again picks a special location for the majority of the proceedings. Here it is a disused police station that Vinu Chakravarthy and his gang have converted as their residence. This rather unique location, some of the ways its been put to use and the comedy there(the nicknames, the 'dubbing' Vaiyapuri provides for Charlie, etc.) continue the fun. Richa's flashback adds both seriousness and a dash of suspense to the proceedings while shining light on the very serious repercussions of eve-teasing.

It is with the appearance of Ramji as the dance master that the movie begins to derail. While the actions of Vinu Chakravarthy are silly and don't suit his character, the fact that the episode was introduced just to make Manoj realise his true feelings for Richa makes the entire episode inconsequential. Richa making Manoj address her as 'sister' and Manoj's attempts to force her to take back her words are new but not really interesting. Saran has also attempted to introduce some shades of Sethu in Manoj's character with his rough-and-tough approach to love but his actions come across as artificial and silly rather than passionate.

Saran has managed to sneak in a neat little twist in his last two movies and accomplishes the same here too. By taking our focus off Preetha's track, he manages to surprise us with the twist at the end. But it is too little too late and Manoj's final dialog just serves to remove the effectiveness of what transpired before.

While this role suits Manoj a lot more than his loverboy role in Taj Mahal, his apprearance still suggests that he would have never become a leading man if not for his lineage. Richa Pallot is a lot more active than in Shah Jahan. This here is her debut though Shah Jahan made it to the theatres earlier. Karan is his usual uncontrolled self. Saran's favorite comedy team of Vinu Chakravarthy, Dhamu, Charlie and Vaiyapuri raise some laughs though the rowdy who makes regular appearances to pay his dues at the bogus police station steals the scenes whenever he appears. Saran opts for A.R.Rehman over his usual music director Bharadwaj but ARR just serves up some more rehashes of his old Hindi tunes.

Rate movie A movie review by Balaji Balasubramaniam