Writer: Gautham Menon
Music: A. R. Rahman
Cinematography: Dan Macarthur, Dani Raymond
Editor: Anthony Gonsalves
Producer: Gautham Menon
Director: Gautham Menon
An adolescent goes on an journey with the woman of his objectives and but an accident provides aspects to rotating out of control.
The first length of Achcham Yenbadhu Madamaiyada (AYM) gives you what you predict in a Gautham Menon movie — a breezy loving efforts. And then, this breeze becomes a storm, imposing harm to everything in its route — not just the film’s numbers and their way of life, but it clip itself! The movie begins with an suggestions that it is inspired from a brief interval of your interval of time in The Godfather — when when Eileen Corleone actions Innovator McCluskey — and we get a nod to now in a area where a cop in the pay-roll of a politician, slaps the idol, undermining him and kindling within him something that he had only knowledgeable as a glimmer — a amazing spirit.
But before we get to now, Gauatham gives us a loving efforts that is so normally released and nicely offered on-screen. We are offered to the idol (STR, who is awesome both as a lovesick youngster and an disappointed young man). We are not given his name, a function which is essential to this tale. He is an MBA graduate scholar student trying to find his life’s calling, while whiling away time with his friends and the romantic endeavors of his way of life — his bike — and with patience looking forward to the woman of his objectives. The latter comes in the kind of of Leela (Manjima, promising), his sister’s half-Tamil, half-Maharashtrian friend, who continues to be in their house for an internship with a movie manufacturer. The infrequent way in which he and Leela become friends gives us some of the film’s awesome moments. They go on an journey together, which provides them closer, but the pleasant journey is rocked by a nut occurrence that changes everything topsy-turvy.
The change in the film’s overall overall tone is surprising (the film’s formerly title, Sattendru Maaruthu Vaanilai, couldn’t have put it better) and strikes us out of the wistfulness into which this method, helped by AR Rahman’s soothing music, has lulled us into. We observe that the occurrence was no occurrence, to get an attempt has been given on the way of life of Leela’s oldsters. Another attempt is designed, but the idol helps you to reduce them. And it is here that he actions Examiner Kamath (Baba Sehgal), who comes across as another kind of Examiner Shankar from Dhill. Soon, Leela and he are on the run, with Kamath trying his best to finish them off.
It is here that Gautham Menon drops and quite fatally. The movie becomes a gradually implausible action movie where the only strikes are from the weaponry going off and not from the writing. From the hero’s activities with the criminals to the final act — which tries to generate on the key around his name and explain the process of attack with exposition — everything seems inorganic, showing a movie manufacturer struggling challenging and incapable to prevent his movie from becoming complex. The attractive journey becomes excellent increase.
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