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The loopholes leave you foxed -- Thee Nagar
A FAMILIAR THEME: Thee Nagar
Genre: Action
Director: Thirumalai
Cast: Karan, Udayatara, Shanmugarajan
Storyline: An upright young man gets into trouble for no fault of his.
Bottomline: A story that could have worked!
Much of Dharani’s ‘Dhil’ and a little of something borrowed from ever so many films make up SRS Studios’ venture, ‘Thee Nagar’ (U). The story, screenplay, dialogue, direction are Thirumalai’s.
To graduate from villain and hero’s sidekick to play the part of a lead man and that too with success is too tough a task. But Karan achieved it.
Working on his physique, and patiently waiting for the right break, he made quite a mark in ‘Kokki.’ ‘ …Kuthagaitharar’ proved another feather in Karan’s cap.
Again the story of ‘Thee Nagar’ is straight up his alley and has enough ingredients to make it work. But Thirumalai’s screenplay plays truant. “Call Yamaha (!) Murugan. Only he can save us from these thugs,” says a college principal.
The next scene opens to herald the hero’s entry on a bike. Can you think of a more predictable intro scene for a hero? Well, that’s how ‘Thee Nagar’ begins.
Murugan (Karan) is an honest job seeker who rises against injustice. So when corrupt police inspector FIR Murthy crosses Murugan’s path, he is forced to give him a piece of his mind. A minor feud gets blown out of proportion and Murthy will not stop till Murugan is wiped out. Too many jerks in the narration (editing is another let-down.) and loose ends are the dampeners of ‘Thee Nagar.’
Whatever be the role, Karan’s performance has always been above par — and more so after he began playing hero. So it’s again a faultless performance from him in ‘Thee Nagar.’ New find Udayatara’s overtures in the song sequences are a little too much take. The item number fades in comparison. Incidentally, why do our heroines switch over to saris when sad?
Perplexing moments
In film after film, from one bad police official to another there’s very little scope offered to Shanmugarajan. And sadly, his stone-faced silence in the climax is perplexing. After all the villainous heckles, he doesn’t even give a menacing look! What was the director doing? And a badly beaten up Karan is almost completely normal in a matter of minutes!
The burnt patches on Udayatara’s face are never the same. In one scene they are few and in the next, left to the whims of the make up department, the patches are more! The other puzzle is why the heroine’s parents never even think of treating their daughter’s scarred face till Karan returns from prison and takes on the responsibility?
The over dressed Fatima Babu with danglers down to her neck, needs to pay attention to her costume and accessories. It’s unbelievable that she goes around her drawing room in heeled footwear!
Meera Krishnan provides a soothing contrast. Be it light or heavy scenes, Sukumar shows he has potential. ‘Kadavul Edharku …’ has a hum-worthy refrain (Jassi Gift) and touching lyrics (Snehan).
At a time when jobs for educated youth are aplenty, it’s ridiculous to see them desperately queuing up at the Employment Exchange office! What age is the director in?
MALATHI RANGARAJAN
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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