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Trisha:

Actress Trisha Krishnan is one of the most well-known names in the Tamil and Telugu film industry.

Basics on Trisha: 

Trisha took up modeling. She participated and won many contests like Miss Salem 1999, Miss Chennai 1999 and she was also voted Miss Beautiful Smile at the Miss India contest in 2001.

She was also seen in commercials for Josco Jewellers, Fair & Lovely and a popular music video by Falguni Pathak called Meri Chunnar Ud Ud Jaye. Other names that Trisha is associated with are Fanta, Scooty Pep and Cadbury’s Perk.

Trisha Krishnan’s Movies: 

Trisha Krishnan got her first break in movies with a small part in a Tamil movie Jodi (1999). However it was Priyadarshan’s Laysa Laysa (2002) that got her noticed. Maunam Pesiyadhe (2002) in which she starred with Surya won her the Filmfare Best Female Debut Award (Tamil). It was a high grosser at the box office.

She has acted with some of the most successful actors in the South like Madhavan, Prabhas, Surya, Siddharth, Dhanush, Arya and Vikram.

She delivered several hits with Saamy (2003), Ghilli (2004), Varsham (2004), Aayitha Ezhuthu (2004) and Nuvvostanante Nenoddantan (2005). Both Varsham and Nuvvostanante Nenoddantan fetched her many awards including the Filmfare Best Actress Award (Telugu).

Some of her movies failed to do well like Ji (2005), Aathi (2006), Pournami (2006) and Sainikudu (2006). But she continued to hold her place as one of the top actresses with movies like Something Something Unnakum Ennakum (2006), Kireedeem (2007) and Krishna (2008).

Most of Trisha’s releases in 2009 are Tamil like Sarvam, Vinnaithaandi Varuvaaya, Aadu Kalam and Chennayil Oru Mazhaikalam.

Review:

Banner: AGS Entertainment, Red Giant Movies
Production: Kalpathy S Agoram
Direction: A.L. Vijay
Star-casts: Aarya, Amy Jackson, Nasser, V.M.C. Haneefa, Bala Singh, M.S. Bhaskar, Omar, Periya Karuppu Devar, Balaji
Music: G.V. Prakash
Cinematography: Nirav Shah
Editing: Anthony
Art: V. Selvakumar

The eminent filmmaker Priyadarshan was well known for his versatile style of making period films. Of course, his films – 'Sirai Chaalai' (Kalapani) and 'Kanchivaram' were intensively substantial. These masterpieces carried top notching elements over technical aspects and narrative panoramas. Having assisted this genius, Vijay has attempted to make a similar period film that has pre-independence backdrop. Nonetheless, the film turns to be a displeasing movie as it lacks everything on narrative aspects. But to mention the best part, it's the technical realms that make the next 2.5hrs quite occupied for the audiences.

The film opens at the present-age in London, where an old woman nearing her last stage of life wants to visit India. Just as she travels along to Chennai, the story shifts to the flashback of 1947, as she arrives in Madharasapattinam (ancient Madras) as Amy (Amy Jackson), and beautiful daughter of British Governor. On her reaching, she falls in love with an Indian Dhobi Ilamparithi (Aarya), who's a wrestler as well. Rest of the film is about their love story narrated with the present and flashback cuts from Old Amy’s point of view with a shocking climax, though predictable.

The first thing that comes to your mind soon after the title credits is all that reminds about James Cameron's 'Titanic'. The old lady glimpsing back on her past with a 'Thali' in her hand is something so emotionally bonding. But as the flashback goes on, the complete first hour lacks proper substance and even the second half except the penultimate sequences is so boring.

Aarya's performance as a Dhobi and wrestler is great as he emotes stunningly towards certain sequence. British girl Amy is as doubtful before the lens as she looks unconfident during more sequences. She looks beautiful as a Barbie doll and there's nothing much we get to appreciate her. Late actor Haneefa has done a good job while other actors like M.S. Bhaskar, the British cop and others haven't got much to score.

The story travels much similar to Titanic as the girl is engaged to a baddie and falls in love with another man and they face the oppositions. The reason for a British Governor's daughter falling in love with an ordinary Dhobi is not convincing. There should have been at least a single solid reason to support it. Is that a crush, lust or love – it's really doubtful to make the exact point… Very few scenes really do entertain and the audiences across villages and suburban regions may not find this film to be really good. Most of the English oriented dialogues maybe puzzling although provided with Tamil subtitles.

Kudos to the technicians – both cinematographer Nirav Shah and Art director Selvakumar have done a great job. Their earnest efforts of presenting the best visuals are commendable while editing is okay. G.V. Prakash's background is average and none of the songs sustain in your senses.

Being set in backdrops of pre-independence era, Vijay has sidelined them thereby focusing on love story of this duo. Vijay should have come up with an impressive story with brilliant narration rather this one looks so unskilled on script, screenplay and direction.

Verdict: Vijay's amateurish attempt


Pookal Pookum:

Review:
Director Susindran was pretty overconfident that Naan Mahan Alla would be an exceptional flick focalizing on rapid rise of crime rates in Chennai. But, what should have been a crime thriller turns into sluggish drama with predictable narration. Hero’s act of seeking vengeances and settling scores with baddies has been the most common stories in Kollywood. In all likelihood, Naan Mahan Alla carries such hackneyed plot and offers nothing special to the audiences.


Buzz up!The film revolves around Jeeva (Karthi), a freewheeling guy with no worries in life. His family members and friends keep him invigorated over the times. Jeeva comes across the gorgeous Priya (Kajal Aggarwal) and falls in love at first sight and indeed impresses her. When everything is set to go on paths of happiness, Jeeva’s life is turned upside down when his father (Jayaprakash) is stabbed to death by group of strangers. What follows next is Jeeva’s mission of trapping the goons, who were responsible not alone for his father’s death, but are serial killers.


The complete first hour (80mins) has nothing to do with the journey as Susindran established the conflict merely at the point of intermission. It looks like the filmmaker wanted to keep the first half with fun, frolic and romance and the latter half with complete contrast. For sure, audiences would feel like watching two different movies due to lack of relevance. The major drawback of the film is Susindran’s amateur way of handling certain sequences. Chennai’s most raucous roughneck and his henchmen killed by youngsters are unbelievable. Maybe, they’re serial killers, but that doesn’t mean they can bump off the most dangerous hooligans just like that.

Having shot the complete film in Chennai, Susindran should have made sure there are continuities between locations in the same sequences. Watch out for the scene where Karthi chases one of the culprits. The chase starts across the lanes of housing boards near Chetpet Railway Station and ends at Perambur Railway Station (The station name can be spotted). Often showing Karthi smiling at kids is unwanted. Director Susindran established the protagonist’s kind-heartedness of buying chocolates for loan borrowers’ kid. This was more than enough to delineate him.

Looks like Karthi is slightly getting out of his Paruthiveeran effects as he tries to emote in a different style when compared to his previous films. The actor showcases an overpowering performance during the second half. On pars, he gets along well with comical sequences. Kajal Aggarwal’s characterization doesn’t boast of specialties as she plays the usual girl-to-next-door roles. Her onscreen chemistry with Karthi is extraordinary. The actress can try for some challenging roles as she possesses the talent to perform them. Jayaprakash as Karthi’s father does an excellent job. The 4 youngsters enacting the role of baddies have done a marvelous job.

Technically, the background score by Yuvan Shankar Raja is magnificent and the song ‘Iragai Pole’ is a foot-tapping number. Mathi’s cinematography is okay as he doesn’t try for innovative placements. His picturing style of songs and climax fight sequence is over the top. Editing by Kasi Viswanathan is perfect.

Basically, if you’re expecting Naan Mahan Alla to be a serious movie with a strong storyline, you’re sure to get disappointed. It’s a time worn of script of hero putting an end to villains. The film can be watched once and it’s just an average show with few violence sequences harshly shown.

When compared to his previous films Paruthiveeran and Aayirathil Oruvan, the actor fails to get himself over the top. Karthi has to keep himself cognizant over choosing some good scripts. Having delivered a commendable showpiece Vennila Kabadi Kulu, Susindran bashes down our hopes with a flimsy tale.

Verdict: Passable film. Can be watched once.

Banner: Studio Green Films, Cloud Nine Productions
Production: K.E. Gnyanavel Raja, Dayanidhi Azhagiri
Direction: Susindran
Actors: Karthi, Kajal Aggarwal, Jaya Prakash and others.
Dialogues: Bhaskar Sakthi
Music: Yuvan Shankar Raja
Camera: Mathi
Editing: Kasi Viswanathan
Lyrics: Na. Muthukumar, Yuga Bharathy, Francis
Stunt: Anal Arasu
Art: Rajeevan
Choreography: Sabeena Khan, Baba Bhaskar
Rating: 2.5/5

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