Starring:
Nitin Sathya, Disha Pandey, Ganja Karuppu
Direction:
S.T. VendhanMusic:
KannanProduction:
T Rajeshwari
Vendhan’s Mayanginen Thayanginen starring Nitin Sathya,
Disha Pandey, Pawan, Tharun Shatriya, Tejasri and Ajay Rathnam has hit
the screens this week. The makers boast that it is a romantic film,
filled with unusual twists and turns.
Apart
from the main story line, there are three more stories talked about in
Mayanginen Thayanginen. But neither has the smallest link with the main
story line, which is supposedly Nitin Sathya’s. The director has also
stuffed the script with all possible tragic events.
Can we ever
forget the old movies where the lead actor, who has a low earning job,
has a crippled sister, a well educated but unemployed brother, seriously
ill mother, father a drunkard, and as if these are not enough troubles a
villain hunting for his life? Well, director Vendhan, for a change has
given a similar scenario to the film’s heroine Disha Pandey. Later, when
Nitin Sathya falls in love with her, his fate completely changes.
Ganja
Karuppu, Pawan and Tharun Shatriya play the friends of Nitin Sathya.
But, their relationship hasn’t been properly established. Ganja
Karuppu’s cousin loves Pawan, and Tharun falls in love with Ajay
Rathnam’s wife, Tejasri. But, both tracks hang unlinked to the main
story. Ajay Rathnam plays a bad cop and a bad husband. His story in the
film too appears unnecessary and insignificant. Sanjana’s item number
doesn’t fit the situation.
The technical department fails to
impress in the film. Rameswaran’s cinematography appears less
professional. For instance, it is not hard to notice the lens being
adjusted during the opening of the film. Editing was understandably
jumpy, after all it went through a hundred cuts to get a U
certificate. Music director Kannan has done a pretty decent job. His
songs, particularly ‘Kanavil Neeyum’ is melting. But, it looks as if he
lost interest while doing the BGMs. His idea of using a lugubrious
Nadaswaram tune for a death scene is definitely old school and very
disturbing.
Most of the dialogues were too poetic (like Maane, Thene, Pon Maane). Every character in the film seemed to possess a poet in him or her. The hero’s usage of chaste Tamil to explain his love was unnatural.
The
lusty dialogues and excessive glamour stuffed in the film cause nothing
but irritation. There were also scenes reminiscent of at least three
films released earlier. Other problems were continuity, unexplained and
implausible happenings, mismatched SFXs and so on.
On the whole Vendhan’s Mayanginen Thayanginen is a strenuous watch.
