Katrathu Tamil Movie Songs Download
Marybelle Bailey
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.
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.
Anjali, the latest to join the heroine bandwagon is a breath of fresh air. Her calm face, sans make-up looks up at you with frankness and honesty -- the perfect foil to Jeeva's plethora of emotions. You can only hope she'll get meaty roles in the future as well.
Debutant director he might be, but Ram's apprenticeship under filmdom's greats shows. The dialogues are crisp and supremely natural, the events zigzag swiftly enough that you don't lose interest, and best of all, all the players stay in character.
No unnecessary fast-paced songs mar the tempo. While the one fight is a natural bout of fisticuffs without irritating special effects. Although the continuous onslaught of sadness, sorrow and hopelessness that permeate the whole movie can give you a headache.
There's also not sufficient motivation for why exactly Prabhakar chooses to study Tamil, other than that his mentor chose it; it would have added depth to his privations, had he shown more love for the subject, as such.
Yuvan Shankar Raja's music perfectly accompanies the tones of the movie: sharp and tangy, as in the Para Para Pattamboochi song, mellifluous and heart wrenching, especially whenever Anandhi appears, and is unobtrusive when needed. A laudable effort.
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