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M. Kumaran Son of ...

Ravi and Asin in "M. Kumaran Son of Mahalakshmi" ... apt casting is a highlight.

RAVI'S SECOND release, Jeyam Company's "M. Kumaran Son of Mahalakshmi" (U/A), shows that the hero who has taken quite a long break after "Jeyam" has utilised the hiatus to work hard on his physique, dance, stunts and performance. The result is an effective show by the young man. As in the case of "Jeyam," "M. Kumaran ... " is a remake (of the Telugu film, ``Amma, Naana, Oka Tamizh Ammayi") directed by "Jeyam" Raja. Nadhiya, the beautiful heroine of many a film just a few years ago, returns to don the role of the graceful, charming and energetic mother of Kumaran. Less of tears, theatrics and clichés are "M. Kumaran ... 's" other enhancing aspects. Kumaran (Ravi) who has just finished his graduation dotes on his mom (Nadhiya). As much as the boy is extremely attached to the parent who has brought him up single-handed, he also hates the dad Eashwar (Prakash Raj) who deserted them. Surprisingly, there is no melodramatic proclamation of affection between the mother and son as is the wont in films. Neither is there an unnatural clinging. Each has enough personal space and hence characterisation, in general, has a healthy touch. For instance, the mother does not stop the son from taking to kickboxing, a sport her husband so passionately loved and pursued. Ravi comes out with an appreciable portrayal throughout. His emotional outbursts at the bedside of his mother as she breathes her last, deserves special mention. Here is hero material that shows great promise. Asin is another actor who does justice to her role.

In the scenes where he is caught between his second wife and his love for Kumaran, Prakash Raj as the exasperated Eashwar comes out with yet another creditable enactment. Though he does go overboard in his expressions in certain scenes. The reason he gives for getting married the second time doesn't hold water. Neither does Ravi's sudden, excessive fondness for the stepmother and sis appear convincing.

Till some time ago our cinema knew of only two stages of adulthood — the characters were either youthful or old. It is heartening to see Nadhiya represent the dignity of middle age rarely seen in films. Vivek has the viewer in splits in "M. Kumaran ... " and also reveals heroism and thrill in the scene where he and Ravi are trapped on a pipeline high on a skyscraper. Double entendres there are, but not many. The camera (Balasubramaniam), location and colour scheme of the "Chennai Sentamizh ... " number is captivating.

Casting is a major draw of "Kumaran ... " Be it mother Nadhiya, heroine Asin, dad Prakash Raj or leading man Ravi, each fills the bill perfectly.


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