The wizard of sophisticated romance is back, and how! As a story Vinnai Thaandi Varuvaaya (U/A) says nothing new. But Gautam Vasudev Menon's treatment makes all the difference. Every frame spells class and every scene oozes realistic love not often seen in cinema.
When was the last time you saw Trisha look so ravishing? Or Simbu exemplify such finesse? The make-over of the lead pair, their romantic interludes and enactment reveal that the two have come a long way from the days of Alai , when they were first seen together, some six years ago. The credit, of course, goes to Menon, who has etched the roles with care.
Jessie (Trisha) and Karthik (Simbu) happen to live in the same compound and from the moment he sets eyes on her, he is the ever-yearning lover. But Jessie keeps blowing hot and cold, till the denouement when …
Simbu comes up with a commendable show, devoid of finger-snapping flippancy, bragging and bravado. You are now curious about his choice of roles post VTV . Well done Simbu! Neck and neck in the performing race is Trisha. VTV is easily her best show till date.
It has taken quite a long time for Babu Antony, the strict father of Jessie, to return to Tamil — you still remember him as the cantankerous villain of the Satyaraj film, Poo Vizhi Vaasalilae . Ganesh, the friend who tags along with Karthik everywhere, is impressive and his witty one-liners lend levity to VTV . Casual and catty at once, K.S. Ravikumar, who plays film director, is very natural.
The dialogue, which has a dig at Gautam Menon himself now and then, is enjoyable. For instance, Simbu says, when people go all the way to America following their sweethearts, couldn't he follow her to Alleppey - a reference to Suriya's U.S. jaunt in Gautam Menon's Vaaranam Aayiram !
Art director Rajeevan, a Menon team constant, whose weakness for white comes to the fore yet again, is an asset of VTV . His effort gains accent with the lighting, tones and angles of cinematographer Manoj Paramahamsa. Trisha's outfits and saris are enchanting, thanks to costume designer Nalini Sriram — the colour co-ordinates add to the aesthetic appeal.
A.R. Rahman proves the past master that he is, once again. The songs in VTV sound unique in the sense that they do not always conform to the regular pattern of pallavi and charanam . Rahman has experimented a lot with the score and aiding him with apt lyric verses is Thamarai. Be it the innovative beats, the backing vocals that include Blaaze or the combination of instruments such as nagaswaram (‘Omana Pennae'), the music offers plenty of pleasant surprises. The ‘Thirukkural' couplet in a fresh refrain is one such.
The choreography of ‘Hosanna' is enjoyable too. But when again and again you see the same kind of dances in groups, monotony enters. Eventually when the narration gets protracted you begin to feel that probably the song sequences were one too many. The twist in the final scene is quite unexpected, but the impact would have been even greater if the pace had been maintained. The maker who brings you to the edge of the seat every time the lovers meet clandestinely could have easily tackled the tempo factor that has been given the go-by towards the end. So why didn't he?
Characterisations are flawless and go a long way in making the viewer identify himself with them. Twenty two-year old Karthik's true-to-life overtures, reactions and recklessness are just as you would expect from a director of Menon's calibre. It is his authentic depiction of Jessie's confusion that's all the more amazing — Menon's complete understanding of a woman's psyche bowls you over! So do the young lovers!
