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April Madhathil

Srikanth and Sneha in "April Madhathil".

TAMIL CINEMA themes these days oscillate between love and action ... or at the most are a mix of the two. Filmmakers are not willing to think beyond these subjects, which they feel are the only saleable options. Hence the difference one could expect is only in the presentation. And S.S. Stanley who heads the team of G.J. Cinema's "April Madhathil" with his story, screenplay, dialogue and direction, deserves special mention for a very decent handling of romance.

Love unrequited or love left unsaid (till the climax of course) is not new to viewers. Such cinematic stories are dime a dozen.

"April Madhathil" is another in the same category. But you don't have dream duets that erupt every few minutes or contrived stunt sequences (if you can excuse the unwarranted initial fight scene that projects Srikanth as a macho hero). Strangely when this scene begins with the animus between two rival college groups leading to violence, it only tends to irritate. Present day college students, you feel, are portrayed as folks who have nothing to think beyond hooliganism, mindless violence and ... girls, of course. But things get smoothened out soon and the story moves on.

Kadhir (Srikanth) is a poor college student (his approaching a girls' college for monetary help and being flooded with generosity appears absolutely ridiculous!).

Swetha (Sneha) and Kadhir are good friends and try to remain so till nearly the end. The casual meetings, spontaneous repartees and platonic exchanges between the two are very natural.

That Srikanth is a hero with potential comes to the fore yet again after "Roja Koottam". The youngster seems all set for a long innings in cine-dom.

Sneha seems the most refreshing among the present crop of heroines. Her bewitching smile, decent dress sense and pleasing demeanour place her in a class apart. Together the two make a cute pair.

Gayathri Jayaram has very little to do yet her chirpiness adds to the youthful sparkle.

"Yeh! Nenjey", and "Manasae Manasae" begin melodiously. "Kanavugal Pookum" has interesting lyrics and is a foot-tapping piece. "Poi Solla... " (sung by the composer Yuvan Shankar Raja himself) is off-key and hurts aurally.

"Sight Adippom... " by T.R. Silambarasan and Karthik is another jarring sore point. And the lyrics for the number are so pedestrian and unimaginative that they worsen the effect.

Venkat Prabhu who was to have made his debut long ago, finds his chance as friend of the hero in "April... " at last.

M.V. Paneerselvam's cinematography is unobtrusively pleasing and so is Nagu's art effort.

In every film the lead pair unites just before the heroine is married off to somebody else, while the jilted bridegroom stands in the wings looking totally ignored and painfully pathetic. Why doesn't the director allow the mute soul to at least have his say?!


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