Manu Needhi
  • Actors - Nasser, Murali, Vadivelu, Nepolian

  • Actress - Pradhiksha, Anjali Tanikar

  • Direction - Thambiramaiya

  • Music - Deva

  • Producer - G.R

The Director's intention is good for he wanted to establish a good principle. But he has not chosen a good story to bank upon.

What he wants to drive home is this. It is not a crime on the part of the parents if they leave away some property to their offspring. But they should not create problems of their own children. Of Course this makes a fine point of view. But the director has failed to establish his viewpoint in categorical terms as the story he had woven around this thread lacks in strength. The mountain has been shattered but the rat has escaped.

But the film is able to hold its head high on two grounds. The first one is the beauty of Pradhiksha. The other one is the occasional brilliance of Vadivelu's comedy. Moreover the movie does not lack in commercial values.

Napoleon, in his drunken state of mind, had molested the life-partner of Nasser before the latter marries her. Nasser, in his outrage works an evil machination. He asks his nephew, Murali, to love Pradiksha, the daughter of Napoleon. As things would have it, the youngsters fall actually in love. When the wedding is fixed he conceives a plot to stop the celebration, in order to settle an old score with Napoleon. But Murali remains patient and hopeful. What his uncle says is Veda for him. Yet he manages to change the mind of his uncle. Having undergone a change of heart, Nasser, at last, unites Murali and Pradhiksha together.

Nasser nurses a grudge and harbours hatred in his heart for Napoleon, even after the latter had sought pardon for his crime. We are able to see the obstinacy of the director itself reflected in the stubbornness of Nasser. The death of Napolean and Sithara in the eventual scene is quite unwarranted.

The two some of Murali and Vadivelu comes to the rescue of the film more than the pair of Murali and Pradiksha. Murali cannot be blamed for he has fulfilled the task given to him. Through and through the film, Nasser continues to be an angry old man whereas Napolean remains cool as a cucumber. Lacking in quality, his make-up has let him down.

Heroine Pradiksha is the big plus point of the movie. Though she does not dazzle as an actress, she gives us a ray of hope that she will have a say in Tamil films for some time. She has promise and potential, to say the least. Anjali Tanikar fails to impress. What for she is there in the picture, one is tempted to think.

Vadivelu makes us laugh no doubt. But his sound jars our ears most of the time. A voice beckons him from a distance. This sends down a chill in his spine, developing cold feet he blabbers this and that and runs here and there. How long will he continue to antics like these?

Deva never exerts himself for the sake of small budget films. He remains true to himself in this film too. Routine, commonplace music.

All of a sudden, Pradiksha falls in love with Murali, Nasser's atrocious audacity and adamancy and Murali's double talk [While he speaks to Nasser in favour of Napoleon, he talks to the people in an attacking manner about Napoleon] are serious shortcomings. Their drawbacks deter us from enjoying the picture to the full extent. When all is said and done, Thambi Ramayya, the director can be congratulated openly for one reason. This is his debut film. He has put in his sincere labour. He has scored at least a small success in pinpointing a meaningful.

The picture has a weighty theme, but a weak story built on it.

The scenes in which Murali and Vadivelu run out of fear for the general public as they go to see the bride.

Climax scenes fall by the wayside.

Waauv..... Buss.....
The scenes in which Murali and Vadivelu run out of fear for the general public as they go to see the bride. Climax scenes fall by the wayside.