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Paesadha Kannum Paesumae
``Paesadha Kannum Paesumae''... nothing different.
THAT PULLING a fast one once too often and playing pranks at others' expense could turn dangerous at some point is a theme that is as old as life itself. But at least the treatment could have been different.
Sri Chiran Films' "Paesadha Kannum Paesumae" brings together the team that earlier came up with "Paarvai Ondre Podhumae" in which Monal had made her debut. Sadly, ``Paesadha...'' is Monal's last film.
Vikram (Kunal) is a fun loving prankster who owns a modelling studio. Affluent and young, the man's pastime is to fool people — only that when he carries things a bit too far, he becomes a fool himself. Priya (Mamtha), a model in his studio, is an enigmatic character. She helps Vikram get a contract he is about to lose but suddenly turns hostile saying that she is all out to take revenge on him, and once again does a volteface in the climax! The scene leading to her change of heart lacks depth. As soon as Priya says she is Vikram's wife, the viewer's surmise is that at some point Vikram's joke must have had a ghastly effect on her life. So the `suspense' after all is not so suspenseful.
How she knows that her dad's accident had happened because of Vikram is not clearly told. (The reference to the cell phone number is not convincing enough).
In the days of yore, princes would fight (literally) to win the hand of a king's daughter. Obviously, nobody bothered about how the girl felt. Something similar happens in ``Paesadha...'' when an angry Satish (Monal's fiancee) and a reluctant Vikram shower punches on each other for Monal's sake. Ridiculous is the word.
Bharani's melodious number ``Thuli Thuliyai...'' in ``Parvai Ondre Podhumae'' was a hit. But not much of that kind of music can be heard in ``Paarvai...''
The close-up shots in certain places seem out of sync with the rest of the scene.
Comedy in the form `Chaplin' Balu and Ramji, creates a slight stir in the scene at the sari shop when the two try to kidnap Priya.
The story, screenplay, dialogue and direction are by Muralikrishna — he could have worked harder on the first two.
The last scene in particular when all the characters stand together and smile so obviously for the camera, transport you to the finale in the films of the 1960s and earlier.
MALATHI RANGARAJAN
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