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Mounam Pesiyadhae

Surya and Trisha in "Mounam Pesiyadhae"... different but unconvincing end.

CAN'T BLAME them. Family drama, melodrama, sentiment, filial piety and love — the motherly, sisterly or brotherly kind — are all outdated. That leaves filmmakers in the shackles of romance and action. Innovations within these parameters alone will work wonders at the box office they feel. And again that's what writer-director, Ameer, has attempted in Aparajeet Films' "Mounam Pesiyadhae".

But to his credit Ameer ("Mounam ... " marks his debut) has introduced an element of suspense in the story. The end shows that the director has tried to make things a little different. The comedy merges well with the main narration and the asides are examples of healthy humour. The scene in which Surya seemingly helps the young lovers elope but eventually dins sense into them, shows ingenuity. And it is also a segment where Surya scores. But such sequences are few and far between.

The story revolves round Gautam (Surya) and Sandhya (Trisha). Gautam's friend Kannan (Nanda) is a compulsive flirt. Gautam, who is sceptical about falling in love, is led to believe that Sandhya is interested in him. But his love life is not to be a bed of roses ...

The impact could have been more if Ameer had allowed the hero's final decision to hang in balance.

Surya shows keenness in honing his histrionic skills. "Mounam ... " is another proof. The steely, powerful eyes are his assets. And dances or expressions, these days, he sails through the role of the angry young man with ease. Yet somehow you get the feeling that the hero is still caught up in the "Nanda" syndrome. Could it be because of his coloured lens? Or his bearded, robust look?

Trisha is undoubtedly a refreshing new find, with sparkling eyes and appealing demeanour. And if her performance is creditable, Savitha, who has dubbed for her, has made a significant contribution to it.

Nanda is another impressive new face. At the beginning you are given to believe that his waywardness would play a large part in the story. But he retires meekly. In fact, throughout the film nothing predictable ever occurs — and that is an appreciable aspect. At the same time, inexplicably sometimes nothing seems to happen at all. The story moves at a reasonable pace only in the last hour or so. Even there, two quickly following song sequences, hamper the tempo.

And talking of songs — Yuvan Shankar Raja's compositions are a clear let down. The choice of locations, particularly for the "Anbe ... En Anbe" sequence is praiseworthy because it comes with an enjoyable, historical feel. Both Rajivan's art and Ramji's cinematography gain focus in "Mounam ... ".

Ameer's effort could probably satisfy a non-fastidious filmgoer — but even that can be only to a certain extent.


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