Katrathu Tamil Mp3 Songs Download
Sandra Grady
The fresh generation seems to very promising for tamizh. That was one hell of a movie, great songs, great lyrics, great RR, great photography.. the director has enterd the big league with his first movie.
hi all,
iam dilip kumar, from chennai.iam studying 11th in p.s.high school,mylapore. when i saw this movie,i was amazed.what a beautiful story ,songs,acting by jeeva.the location were excellent.i love the song unakkake thaane.it remainds of my late grand ma and my lover
paarkum thisaiyil ellam
paavai mugam varudhe
meengal kaanal neerinil therivathundo
kangal poigal solvathundo
nee potta kadithaththin varigal kadalaaga
athil mithanthene penne naanum padagaaga -> all this while hes still searchin for her
The failures of his first projects meant that he was not offered any film projects and assignments subsequently. However, both the soundtrack album as well as the film itself failed to attract audiences and do well, and Yuvan Shankar Raja's following projects Velai (1998) and Kalyana Galatta (1998) were not successful either his compositions for these films did not receive good reviews or responses, with one reviewer labelling the music and background score in the latter as "cacophony" and "poor". His entry into the Tamil film and music industry had happened at age 16, thus he became one of the youngest composers ever in the industry, which he says, was "purely accidental".
Yuvan Shankar's songs were equally successful, which are considered to have played a major role in the film's great success, while his background score in the film was also well appreciated.In 2001, he had three album releases, the first being Thulluvadho Ilamai, collaborating with Selvaraghavan for the first time. Murugadoss's directorial debut in 2000, the action flick Dheena, starring Ajith Kumar, which went on to become a blockbuster and Yuvan Shankar Raja's first major successful film. Films, Unakkaga Ellam Unakkaga (1999) and Rishi (2000), he got to work for A. After working for two Sundar C. The album would make possible his first breakthrough in the industry and proved to be a major turning point in his career. The soundtrack received a very positive response, being described as "fresh" and "different", with a critic from The New Indian Express citing that his "absolutely enchanting musical score bears testimony to his "Raja" surname." The album became very popular, particularly songs such as "Irava Pagala" and "Chudithar Aninthu", gaining him first time notice, especially among young people and children.
His work in the film, particularly his background score, was unanimously praised, leading to the release of a separate CD consisting of several film score pieces, la "Hollywood-style", which was reportedly the first film score CD release in India. At the same time, he made his Telugu debut with Seshu and Malli Malli Chudali and also composed for the Tamil films Junior Senior and Pop Carn, starring Malayalam actors Mammootty and Mohanlal, respectively, though all of which performed poorly at the box office.In 2003, Selvaraghavan's first independent directorial, the drama- thriller film Kaadhal Kondein released, which is considered a milestone for Yuvan Shankar Raja. He then gained notice by churning out "youthful music" in the college-life based April Maadhathil (2002), the romantic comedy films Kadhal Samrajyam (2002) (The film was never released theatrically, the soundtrack was released in 2002) and Mounam Pesiyadhe (2002), Ameer's directorial debut film, and the triangular love story Punnagai Poove (2002), in which he also made his on-screen debut, appearing in some scenes and one song sequence. This was followed by Bala's Nandha (2001), for which he received rave reviews. The film itself, marking the debut of Selvaraghavan's brother Dhanush, released one year later and became a sleeper hit at the Chennai box office. The soundtrack album of Thulluvadho Ilamai particularly appealed to the younger generation.
His score for the Ameer-directed thriller, labelled as "soul-stirring", fetched him further accolades and eventually yielded a win at the 2006 Cyprus International Film Festival for Best Musical score in a Feature Film, the first such award for an Indian composer.
The story begins at breakneck speed: Krishna (Krishna) and Krishnaveni (Vijayalakshmi) are in the Rameswaram temple, about to get married. But there's a sense of urgency. They look around furtively, as though expecting disaster to strike any minute. And it does. The moment Krishna ties the thaali around Veni's neck; they're nabbed by the police, headed by Stanley Devasagayam (Kalyan), a cop from the Intelligence Bureau, for crimes untold.
What follows is slickly executed chase sequence that bring you to the edge of your seat. A temple employee (Sampath) appears in the nick of time and carts them off to a safe house, but the couple lands from the frying-pan into the fire. He is Inspector Ramanathan, who was originally in charge of capturing them. He had nursed a grudge ever since the case was give to the IB.
Locked up, Krishna and Veni slowly divulge their story: She wanted to be an air-hostess and ran away from home; he was cheated out of his project by a prominent banker Ramakrishnan (Santhana Bharathi). With no resources, a burning need for money and a sense of revenge, the two decide to outwit Ramakrishna. One scheme leads to another, and there comes a point when Krishna is willing to take up crime as a full-time occupation.
Thus begins a series of heists, from stealing diamonds to selling AVM Studio to gullible men (Ganja Karuppu), some handled amateurishly, but others with slickness worthy of a duo practically born for crime. Pretty soon, blackmail gets tagged to the list -- although how Krishna ends up with equipment sensitive enough to blackmail Minister Vaigai Varadhan (Cochin Haneefa) is a puzzle. In between are tantalizing threads of romance, unravelled boldly to loud songs. Some of the songs are shot beautifully, especially Suthanthiram.
For Krishna, this is the role of the lifetime. Shorn of the silly moustache and beard, he looks youthful and acts up a storm. The disguises suit him well, and the screenplay is clever enough to rescue him where his acting might have floundered. He dances well and has a blast.
It's a joy to watch Vijayalakshmi. She might not satisfy the conventional ideas of beauty, but brings wonderful energy to the screen. Her body language is perfect. She adds something to every scene she's in, and a movie like this gives her plenty of scope to perform.
However, the real protagonist is the script, which shines despite a few sagging moments in the middle and Paul J's rather lacklustre music. Balaji Devi Prasad's direction, Ruben's dialogues, aided very capably by Nirav Shah's camera-work make Katradhu Kalavu worth a watch.
Why this rating is different: The rating is not based on popularity (there are another 50 websites which would have your favourite song toping the chart). As someone who listens to all tamil songs, these are the ones that I liked. My apologies if these ratings have disappointed you. Why don't you give these songs a fair listening. I am sure you will like them (Ofcourse we can debate - go...@cooljilax.com). There are some 79 good songs featured here!!
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Debutant director Ram's offering, however, tosses you through a maelstrom of emotions, before bringing you back to earth. And the actors he has used to drive his point home don't just act -- they live.
Prabhakar (Jeeva), the protagonist, is a Tamil postgraduate, settled in a meagerly satisfying job as a Tamil teacher that leaves him with barely enough to fend for himself. He doesn't complain, though. Life hasn't lost all its charms yet for him.
Until destiny decides to toss him like a pebble in the street. In a swift succession of events beginning with getting thrown into prison for a trivial matter, he undergoes severe mental trauma, thereby deciding to end his life, which is easier said than done.
If you thought a chronically depressed suicidal young man had had a trouble childhood, think again: Prabhakar's childhood home was a happy one, filled with normal parents, good-humoured neighbours and most of all -- his bosom buddy and confidante, Anandhi (Newcomer Anjali).
Together, they spend a childhood concocted of dreams, stringing paper lanterns in the twilight, rushing through windswept hills here S R Kathir's cinematography is breathtaking -- and witnessing their first death, that of Prabhakar's dog, Tony. You have to hand it to Sriram and Keerthi, who play the children; their acting is real, natural and blessedly simple.
The idyll comes to an end all too soon, as Prabhakar's mother and grandparents die in a horrific car crash, picturised so vividly that you blink in horrified sympathy. The hapless boy is soon sent to a hostel, away from his father, but discovers another mentor here, a guardian who's the stuff of dreams -- his Thamizh teacher (Azhagam Perumal).
The brilliantly shot montages highlight all that is the best of a blooming, heartfelt relationship. But destiny, as though unhappy with this brief respite, soon drives him into a series of twists and turns that will eventually push him to the limit -- and shape Anandhi's fate.
Even during the sickly sweet Aasai Aasaiyay days, you could see the promise glinting in Jeeva's eyes -- despite the straitjacket imposed by hero-centric roles, he managed to bring into them a spark of life. Then came Ram, which was a milestone, whichever way you looked at it. And now, as Prabhakar, Jeeva leads you through dimensions that are frankly amazing.
As the young, vulnerable Prabha, he's endearing, his shy pauses and hesitant body language bringing a mofussil student in front of your eyes. He's perfect as the ganja-smoking near-lunatic who prances in a river and freaking brilliant as the frustrated Tamil graduate who rages in the middle of the night. And in the end, as a clean-shaven innocent again, he's heartbreaking. When he rants against the vagaries of a life that will not offer any opportunity to one such as himself, the applause hits the roof.
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