Kadhalukku Mariyadhai Love Scene 12
Cre Wallace
Jeevanantham "Jeeva" is a rich youth who has just completed his B.Com. Although his parents want him to marry a girl and settle down, Jeeva prefers to pursue MBA studies instead and is not interested in marriage. But his attitude changes when he meets Mini, a Christian girl who is a final year B.Com student, at a bookstore. He instantly falls in love with her, and after a few incidents, he succeeds in winning her heart.
However, Mini's three elder brothers - a doctor named James, a police officer named Stephen, and a local goon named Thomas - who are all overprotective of her, eventually find out about their sister's relationship with Jeeva and are furious. They thrash Jeeva, as well as his friends Kesavan and Raghavan, and warn Jeeva never to come near Mini. Undaunted, Jeeva takes Mini to his house, where his father Rajshekhar too disapproves of their relationship and throws them out of the house. Kesavan and Raghavan take the couple to their slum near Pondicherry, where Kesavan explains their situation to his father, who is a fisherman. Kesavan's father agrees to let the couple stay in his house and also defends them from Mini's brothers when they come to the slum to kill Jeeva. Later, Kesavan's father decides to get Jeeva and Mini married, but by now, Jeeva and Mini have developed second thoughts about their relationship as their families are against it. They decide to break up and return to their families, which is accepted by Kesavan, his father, and Raghavan. But despite breaking up, Jeeva and Mini cannot forget each other.
Meanwhile, Mini's marriage is fixed with someone else. Jeeva's mother decides to meet Mini before she gets married so that she can get a better wife for Jeeva. Jeeva, his parents, as well as Kesavan and Raghavan, go to Mini's house, where both families apologize to each other for what had happened. But when Jeeva and his family are about to leave, Jeeva's mother breaks down and requests that Mini's family get Mini married to Jeeva. Mini's family, including her brothers, agrees to this. Jeeva and Mini are happily reunited.
Kadhalukku Mariyadhai is a Tamil remake of Fazil's own Malayalam film Aniyathipraavu.[1] Initially, he was keen on casting a debutant in the lead female role, but Shalini, the lead actress of the original, insisted that she should also star in the remake.[2] Fazil initially approached Abbas for the lead role, but due to mismanagement created by Abbas' manager with call sheets, Vijay was selected instead. Even though the story takes place in and around Pollachi, Coimbatore and Pondicherry, the film was predominantly shot in Ernakulam and Kochi, similar to the original Malayalam film. But some minor scenes were shot in the above mentioned Tamil Nadu cities as well.[3]
The soundtrack has been scored by Ilaiyaraaja, with lyrics written by Palani Bharathi.[4] Ilaiyaraaja reused five of the songs from this film in Preminchedi Endukamma? (1999).[citation needed]
The film was released on 19 December 1997. A reviewer from The Hindu mentioned that "Vijay brings to surface the soft nature of the love", while adding that the rest of the cast makes "fine contributions", and praising the director's work.[5] K. Vijiyan of New Straits Times wrote "This is a movie for the whole family".[6] Ji of Kalki praised the performances of Vijay, Shalini, Ilayaraja's music and climax but panned the casting choices of Charlie and Dhamu as Vijay's friends.[7] Ananda Vikatan rated the film 50 out of 100.[8] The film saw Vijay win the Tamil Nadu State Film Award for Best Actor alongside Parthiban, while Palani Bharathi won the Tamil Nadu State Film Award for Best Lyricist.[9]
Entertainment portal Behindwoods placed the film in first place in "Top 20 Best Films of Vijay" and also placed in "Top 20 Best Love Stories In Tamil".[10][11] Scenes from the film was spoofed in Thamizh Padam (2010). Shiva (played by Shiva) and a girl will be taking the same book Love and Love Only in a same way similar to the pair in the film, but shock awaits as the girl turns out to be married.[12] The song Ennai Thalatta Varuvala inspired the title of a 2003 film.[13]
PKP is another one of those movies that seem to keep on coming these days, with a light story and trying to entertain the audience rather than give them any food for thought. That, by itself, is not really a problem if the movie served its purpose of entertaining. Unfortunately, it falls quite badly in that department for the most part, making the viewing a complete waste.
Nasser and Vijaykumar are music directors who have stopped working together because of some differences and continue to maintain their enmity. The incidents that lead to their split looks quite childish -- not that people do not fight for childish reasons, but do we want to watch it is my question. Soon comes this really surprising act of Surya and Jyotika, their offsprings, falling in love. This is one of the most boring stretches of the movie and goes on till the intermission. The problem is not with either Surya or Jyotika, but rather with the stale screen-play that has been shown in hundreds of movies so far. Then the loving couple decide they won't marry without their parents' permission in the style of Kadhalukku Mariyadhai and set about endearing themselves to the respective future-in-laws by acting as servants in their homes. Here comes the best part of the movie, with some crazy mistaken-identity scenes involving Kovai Sarala that are the forte of Crazy Mohan. It was a memorable 20 minutes, a total laugh riot, but, unfortunately, it was too short-lived. Then we move onto some really predictable scenes that lead to the surprising ending of everyone agreeing to their marriage. Stupid!!
Watch it on the video, simply for the 20 minutes of comedy after the intermission.
Every week, Kannada film enthusiasts eagerly expect an original film, only to be disappointed. Shubham is directed by the young Ravi Garani, who proved his mettle with TV serials like Kavyanjali. But Garani has wasted a golden opportunity by packing his film with too many unexpected and illogical twists, making it a big bore. He has achieved this despite a strong technical team and good artists at his disposal.
The only two positive features of the film are fantastic photography by Giri and good music by Guru Kiran. Hani hani ibbani, ninna baachikolluva aase really is a haunting track. Sadly, good visuals and music aren't enough to make a good film.
The first half of the film is slightly better than the second. The narration of the first half is paced tolerably well, but too many illogical twists and turns kill any possible interest in the proceedings. Lack of originality is another negative aspect, as many scenes remind you of films like Ramachari (remake of the Tamil hit Chinna Thambi) and the Tamil Kadhalukku Mariyadhai.
The film revolves around a cable operator, Venky, who accidentally meets Priya and falls in love with her. When he finds out that her marriage has been fixed, he kidnaps her and takes her to a forest. Priya, so far living a life surrounded by overprotective brothers, slowly starts understanding Venky. Or is this merely Stockholm Syndrome? After many implausible events, Priya tries to save Venky from a deadly disease but the film ends in tragedy. As a tired member of the audience, you will come out of theatres either yawning or with a splitting headache.
Shivadhwaj has tried his best to portray the role of Venky as convincingly as he could. Mumbai-based Sanjitha has also done a decent job with the role of Priya. Veteran actor Lokanath is, as usual, brilliant, while Kishor makes a good impact as a villain.
Every actor who goes on to become a superstar has a handful of films that can be called checkpoints. Like in a video game, once you've reached these checkpoints, you achieve a minimum level of guaranteed success, which means that you don't have to go ever back to the starting point, even when something goes wrong. A checkpoint is also a film that creates a whole new set of fans for the star. Of course, he had his fans even before Kushi, but this SJ Suryah film went on to define Vijay's persona as the guy who is always likeable, even if you didn't necessarily like his films. Of the three or four checkpoints that made Vijay's career, Kushi is also that one booster every star needs while making the transition from 'boy next door' to 'mass action hero'. Here are 10 reasons to explain why.
When people discuss Vijay's career graph, it's always assumed that it can be broken down into just two major phases; the lover boy from next door and mass hero. The former is made up of films such as Poove Unakaaaga (his first big hit) and Kadhalukku Mariyadhai where he plays the romantic all of us are familiar with. Of course, he's likeable in them, but the success of these films were attributed to their directors (Vikraman and Fazil). And then, we got the phase that started with Thirumalai, from which point the biggest name in the film always remained Vijay. In such a career graph, there's always a phase where the actor works with a director whose career is running parallel. This leads to more freedom for both the actor and the director, and this synergy results in a film unique to both. This is what happened with Dhanush when he worked with Vetrimaaran in Aadukalam. For Suriya, this was Kaakha Kaakha with GVM. For Vijay, this perfect middle was Kushi.
One of the many reasons why most actors starting off as lover boys never go to the next level is their inability to do comedy. Of course, Vijay had done comedy before, but never like what we saw in Kushi. There's this casual likeability to him in both scenes where he meets Jenny (Jyotika) to pass on his friend's love letter through her. He doesn't need a Vivek, Charle or a Vadivelu here to make the scenes come alive with humour. Even though you can now see traces of SJ Suryah in Vijay's performance, you still got to see Vijay, especially in that scene where he's drunk and talking to a poster. We're not just interested in what's happening in the story, it's also about how they're (Vijay and Jyotika) going to perform it.
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