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For instance, Vimal blackmails his mother and sister by aiming a brick at the TV, for money. The way the director skips specific scenes to reveal only a part of the story or show it later, is an interesting technique that works very well at places. There are minor, genuinely brilliant scenes, sprinkled across the film. The characters and locations are so natural and earthy that you almost smell the paddy fields. The only thing that works big time is how it is filmed with rustic nativity. The second (half) is the way it ends.īarring these, there are no genuinely interesting scenes to sustain interest for 2 1/2 hours. The film has 2 really good ideas…nah, make it one and a half. If I were to connect this film, I’d blasphemously do it, with Pandirajan’s second film, Aan Paavam. Or, merely having a kidnap scene doesn’t make this film a Nadodigal.
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Merely having Vimal in the lead in a similar role doesn’t make this film a Pasanga. I was expecting a Pasanga (at least going by many reviews that claimed the film was a curious combination of Pasanga and Nadodigal), but it turned out to be completely different. That however does not mean the film was not good.
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So, it may be the expectations or the nature of the film’s screenplay – it was boring, for large parts. This was one film that was touted as a sleeper hit and got massively positive reviews almost everywhere. To be fair, I started watching A Sargunam’s debut, Kalavani, loaded with expectations.