There has been a long standing controversy about Super Good Films' R.B.Choudhri leaning much towards cost-cutting in producing his films. R.B.C's latest production, Poo Magal Oorvalam, is a perfect example of the cost-cutting scheme in action. How unfortunate that the quality of the film tremendously slides in the process. Madhuravan, the 9th director introduced by Choudhri, seems to show moderate potential as a newcomer director. But the below average technical values of the film bury the potential shown in Madhuravan's story and screenplay. Better luck next time, Madhuravan.
Prasanth is an orphan roaming the streets after his mentally ill mother, Anju commits suicide a few years after child birth. Manivannan and Radhika, an inter-caste married couple, raise Prasanth as their own son to fulfill their barren lives of being childless. As time flies, Prasanth is ready to tie the knot and his parents begin the process of ponnu-paarthing for him. As fate would have it, the three main characters, Prasanth, Rambha and Livingston's paths cross to form the love triangle which ultimately creates plenty of confusion and laughs till the conclusion. Broker Pandu interchanges the photographs and creates a mess with Radharavi, Sathyapriya and their son Livingston assuming that Rambha's family is ready to give her in marriage to Livs. On the other hand, Prasanth and his family are really the ones whom Jaadhi veri pidichcha Rajan P. Dev, Rambha's Thatha, approves of (not knowing about the inter-caste marriage between Mani and Radhika)!. Things come to a dramatic conclusion when Thatha realizes that Prasanth is indeed his own grandson, with a brief flashback relating the 'Nizhalgal' Ravi - Anju marriage split due to her illness.
The story and various scenes surrounding the nichayathartham and wedding is handled well by Madhuravan, but most of the characters stand around waiting for something to do. Manivannan and Radhika are the best examples of this 'waiting' process. Both are extremely talented stars who don't get their share of powerful dialogues in this film. Additionally, 'Nizhalgal' Ravi pleading with Rajan P. Dev saying "En PuLLa-ppa!.. En Pulla-ya ivaLavu naaLaa thaedi, ippo ennai vittu pOraanppaa" sounds artificial, especially since there are no scenes to show that he actually went in search of Prasanth in the first place. Finally, poor Livingston as Aavadaiappan/Armstrong is hilarious in a few scenes but doesn't have much to do in the overall picture. His role could have been given a little more 'saththu.' A huge pat on the back to Radha Ravi, Sathyapriya and Vivek! Their bubbly characters with an aggressive set of dialogues makes them the liveliest bunch in this film. Prasanth looks polished in the final scenes, but still needs to work on his dancing steps. Rambha's hip and waist line grows with every film. Maybe Rambs and Sims should begin a 'kavarchi kanni koottani' search for a good costume designer and physical trainer.
C.Shiva's songs sound old and ragged in places, but a song each by Unnikrishnan and Hariharan fits nicely in the film. D. Shankar's cinematography falls far short of expectation. The scenes inside the temple and in closed, dark areas forcibly flush red and yellow colors into our eyes. The camerawork is not balanced, colorful or even aesthetic in its approach. In the times of P.C.Sriram, Rajeev Menon and Santhosh Sivan, this kind of work is hard to believe. The mechanical dance movements alongside the paarththu paarththu puLichu pOna locales are yet other tiring aspects of Poo Magal Oorvalam. Watch it for the comedy, if not for anything else!
Original Photograph (Poo Magal Oorvalam
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