Named after a popular line from Vinnaithaandi Varuvaayaa, Inga Enna Solludhu had VTV Ganesh and Meera Jasmine in the lead, with STR doing an extended cameo. We went in expecting a laugh riot – surely, Ganesh’s voice and his chemistry with STR and Santhanam would be funny; but we walked out wondering why there was no riot. Of the serious kind.
And so, we listed out many reasons why the movie is bad in our review.
The screenplay, if there’s one, is amateurish…
The writing is terrible.A D V E R T I S E M E N T
The songs don’t make an impact.
The editing is subpar.
Five songs before the interval (with unimaginative choreography), a couple who makes up and breaks up almost everyday, and character artistes enacting a few pages of badly written humour. Gautham Karthik certainly needed a better film after the debacle that was Kadal. He instead picked a movie that suddenly made Kadal look not so much like a debacle.
We came away thinking the hero’s mom was the most likeable character. Nothing wrong with that, except this was supposed to be a romance.
We really wanted to ask “Inge Enna Solludhu” to the filmmakers after the movie was done.
The haphazardly made Adhu Vera Idhu Vera. (In other words, Yennamo Edhonnu edutha padam… See what we did there?)
Adhu Vera Idhu Vera is the kind of movie that cannot be classified. It is a masterpiece. One that seamlessly blends very bad comedy, spectacularly bad acting and some dialogues that you need to hear to believe. But it is actress Shakeela (yes, she’s a part of this) who suffers the most. She is made to spout the lamest of lines and even take a firm stand on morality and paththinithanmai, something the actress herself can’t seem to pull off with a straight face.
The trailer of Thirumanam Ennum Nikkah created an illusion about how good the movie would be. The actual movie went about destroying that illusion. A classic case of Trailer Vera, Padam Vera if there ever was. Adhu Vera, Idhu Vera.
The only silver lining was the song Kannukkul Pothivaippen.
Raghavan and Vishnu Priya – by a cruel twist of fate, and a (terribly-written) case of mistaken identity – think the other is Muslim. They are madly in love with each other, and quite taken by the idea of embracing Islam. What probably makes it worse is the tiring second half. Raghavan and Vishnu Priya finally discover that they belong to the same religion after all; but they are extremely unhappy about it. Such a sheer waste of such Islamic finery. Really.
Watching Aindhaam Thalaimurai Sidha Vaidhiya Sigamani (Ufff) was like travelling back in time, to the period when Rajinikanth was doing Moondru Mugam and Kamal Haasan was busy with Simla Special.
It took us way back to the time when civilization was just evolving. When…
Sigamani is a simpleton who gets duped a little too easily, and the horde decides that the solution to this particular problem is to find him an educated wife. He finds one in front of a college – the beauteous Nandita and they instantly decide to do the whole Thirumanam Ennum Nikkah thing. What follows is a comedy (?) of errors to cover up his lack of education to her ambitious dad, Thambi Ramaiah.
The movie featured: A thangamaana hero, a delicate darling of a heroine, her blind sister, and their widowed mother. And even a Aindham Thalaimurai.… could not cure it of its ills.
We can’t forget this image of Vidharth, with different colours of georgette dupattas around his neck, trying to dance with Manisha. With myriad of close up shots of Manisha (who can’t emote and whose lip-sync is haywire), we feel like we are watching a prime time Tamil serial.
What Yennamo Yedho did to Gautham Karthik, Yaan did that to Thulasi Nair.
One can’t think of a single memorable song or line or performance, even though there was a solid technical team to back up the director: Sabu Cyril doing art and Sreekar Prasad as the editor. There was one moment when the theatre clapped in glee. Sreela is watching TV and we get a glimpse of Ajith sliding down an escalator from Aarrambam.
We really wanted to use Pattaya Kelappanum Pandiya somewhere here, but Pattaya, Kelappanum and Yaan just don’t go that well together.
The shaky camerawork, more at home in a Tamil tele-serial, adds to the frustration. The film could be a great ad for the digital camera everyone lugs around. The Tamil ghost dumps it in water, along with Gokulnath; the Japanese ghost throws it around in a fit of hysterics. Yet, it survives. When the rest don’t. That’s some camera, dude.
Such a Yaan.
We also survived Sutrula.
Sutrula fails to create the mood for a thriller because of its production values. Every minute, I am reminded that I’m watching Sutrula with a group of college students, who are having a whale of time, bursting into laughter every time Johnny says, “It’s a game of death!” One of them is engrossed in Candy Crush, which would rank as marginally more interesting than The Game of Death.
No prizes for guessing how we’ll end this one.
Aaaah. With four As.