You must have heard the story of a man who finds a near-dead snake in the snow. He tends to it, nurses it with warmth and soon enough, the snake springs back to life only to bite the guy who rescued it.
Director Selvaraghavan is that kind of guy who nursed an audience that comprised of misogynists, male chauvinists, stalkers, voyeurs, roadside romeos and assorted slackers pining for love that always went unrequited.
His films gave them warmth, stoked the fire to pursue the girl to the point of invading her space or gratifying their fantasies. Be it peeping into her room when she’s changing in 7G Rainbow Colony or making them sing ‘Variya?’ (Pudhupettai) to girls around the city. Be it fulfilling their fantasy of urban women fighting for/snuggling up to one of their kind (Aayirathil Oruvan) or making them cheer ‘Adra Avala’ (Mayakkam Enna).
Selvaraghavan has always had strong women in his films but the way they were treated has always been a little problematic. Men harassed and/or abused women in his films and hardly apologized for it. On the contrary, the crowd seemed to be rooting for these glorified anti-heroes.
There has always been the lower-middle-class single-guy unrequited love angst associated with his kind of cinema that instantly connected with an audience that formed the major chunk of movie-goers. Friends called him the poor man’s Mani Ratnam not because he lacked technique but because his heroes were always from the lower middle class.
From sex to voyeurism to abuse, he never shied away from showing what Mani Ratnam would be more discreet about. And that raw, edgy, bold crassness has always been his signature because people hailing from that lower middle class economic background were like that. Crude, rough and not the kinds who would look for euphemisms.
So when Selvaraghavan makes a film that works as an apology to womankind for all that misogynist, chauvinistic behaviour his films have been accused of promoting, his loyal but rabid lower middle class fan base that loved his old films seems to be unable to come to terms with the coming of age of Selvaraghavan’s cinema and its changing sensibility.
It’s not that Selvaraghavan has crossed over to cater to a more elite audience. He hasn’t entirely but this film surely seems like a transition into a more refined sensibility of restraint and understatement. Which is why the only jarring bits in Mayakkam Enna are the dramatic crying scenes that feel a little overdone ONLY because the rest of the film is so classy, subtle and understated.
So when the best scene of the film played out (one that is both disturbing and sentimental as Richa tries to scrub the blood off the floor – a better actress may have played this with greater restraint), the unruly college crowd, the snake Selvaraghavan provided warmth to, now bared its fangs. The crowd was laughing at the crying hero who is apologizing to the woman for what he has done.
And Dhanush cries quite a bit in the film. That’s a far cry from what heroes do. He also gets slapped by pretty much everyone he looks up to – first the girl, then the guy who steals his credit (slapped not literally but emotionally) and finally by his best friend.
They soon, as we, realise that the angry tough young man who sings ‘Adra Avala’ is actually a cluelessly lost, soft-hearted, sentimental fool who is weak in resolve. Whether it is getting the girl he is attracted to or claiming credit that is rightfully his.
Contrastingly, the girl here is the hero of the film. She wears the pants. She takes the initiative for the kiss (which we don’t see in a Selvaraghavan film – another indication of the director’s changing sensibility). She fights for him when he’s too scared to confront his best friend. She fights for him even when he has given up (by sending his pics to magazines). She fights for him even when he is consumed by self-pity and dejection. She does not give up on him ever. She is the breadwinner, the mother and the wife.
Again, not because she’s a doormat but because she believes that he’s just mentally ill with all that angst eating him up. She knows that the only cure for that mental illness is to make him get his confidence back. She has the choice to leave him but she doesn’t. On the other hand, she is not quick to forgive him. She takes her time.
If Gran Torino was Clint Eastwood’s way of saying sorry for having led a generation astray with his brand of cowboy justice, Mayakkam Enna serves as Selvaraghavan’s apology (even if unintended) to women for all the harassment portrayed (and unintentionally glorified) in his past films.
It’s a solid tribute to the strength and resilience of the Indian wife, who for years now, has stood by her husband no matter what an asshole he has been. Yes, the Indian woman has changed and she no longer puts up with shit. But it’s never too late to acknowledge the woman behind every successful man.
Hats off to Dhanush to sink his teeth into a role that required him to completely submit to the character of a despicably weak man who deserves our sympathy but not our respect (it’s not a role any mainstream Tamil film hero would have taken up) and still infuse it with a boyish charm of someone real we know. No character in the film, barring the photographer who steals the credit is entirely evil but even there, when the man asks his assistants to throw him off the set, there is no stereotypical portrayal of goons pushing him to the floor to dramatic music. (Here, as perfect it may be, I really don’t want to comment on GV Prakash’s score. I am afraid to credit this young composer with any good work because he has constantly proved to be a thief. That is the thing when you steal and do it more than once, nobody believes you when it is really yours. Once you are in the business of stealing, you are a thief no matter what else you do.)
It’s the shades of grey within relationships that Selvaraghavan revels in and he works magic in this area. Friends fight, some scars remain, some cracks stay open but everything heals with time. It’s that strong, credible human fabric binding the relationships in the film that makes Mayakkam Enna rise above all its logical oversights (be it the geographical accuracy of the kind of animals/birds shot by the photographer, the places it is featured in or the cosmetic detail of Dhanush’s wig in the final act) and overdone histrionics (the crying scenes and that humiliation scene where he has to act as a dog probably put in to cater to an audience that was missing director Vikraman and SA Rajkumar’s score). Elaborate points on what works and what doesn’t are in Baradwaj Rangan’s review here. I agree with Baddy on most points.
Like most of Selvaraghavan’s films, the first and the second half feels like two different films. Here, the first is about a guy falling in love with his best friend’s girlfriend and the second is about a frustrated man turning abusive unable to cope with failure. There’s no point asking him to do a screenwriting course or telling him that he lacks what is needed to make it big because some people are just happy doing what comes naturally to them.
And this is an intensely personal film about an artist who can put the camera in front of an old woman and make her look beautiful with all her wrinkles.
So it seems autobiographical when he calls his biggest critic and tells her in his moment of truth: “I don’t want to do a course to know how to shoot light and shadow in a studio. I know I can capture life as it is. With all its beauty. I rather be happy doing something I like doing than stay unhappy doing something I don’t because it pays. I may never become big but I will remain happy.” And ironically, that is what he thought back then. He does not stay happy. Such is the nature of man.
Selvaraghavan knows he can see the beauty of the wild side of nature. His films are an exposition on the nature of man. He’s high on that passion to capture that beast. He’s a man in love with what he does. There’s nothing that makes him happier than recognition for his work.
Well done, Selva in bringing us this unique love story about a man in love with his craft. And a heroine who brought them together.
Rating: 8/10
Am just wondering if this is a review of ‘Mayakkam Enna’ or a retrospective appreciation of Selvaraghavan. And Quite interesting to see that the ‘review’ and ‘the reviewed’ share a similar pattern of repugnance. Both contain intense truths and immense pretense interwoven. Reads like a schizophrenic writing, when SK had been possessed in by SR.
I’m unable to believe my eyes, is it true? Did Selvaraghavan indeed make the movie that you’ve reviewed?
As a woman, watching his movies have always been replete with cringes in discomfort, anger and frustration. He tells his story to a different audience, I have convinced myself often and tried to stay away from his brand of cinema. The uncomfortable camera work and the glorification of the “almost” stalker portrayed as the hero and his scant respect for his heroines. Enough reasons to be a firm non-fan of the director.
Your review however tells a different story, maybe this is one time I’ll go ahead and watch his movie (unless of course there are more such ones!)
Another good reason is of course, Dhanush, one main stream actor who can actually portray characters that seem taken out of real life. Even if unreal in writing, this talented actor manages to make it believable. Something I’m not used to in the Tamil movies.
Great writing as usual.
@divya I donno why do u feel that he has a scant respect for women.. coz all his movies have potrayed women as the person with a strong character….7g , kadal kondean.
agree may be the actors dint justify the role enough!
I quite like Kadhal Kondein, (especially since that was Dhanush’s break through performance). The female character as such did have some strength I wouldn’t disagree, but the whole objectification of the girl seems regressive. Like the way the camera captures her through his eyes etc..OK, we do know that the hero is madly in love (?) with her (besides being a psycho LOL) but there is actually no need to show us exactly what he is looking at, if you get what I mean.
There are some kind of movies where the whole idea of the heroine being there is to be glamourous and be a part of the scenery (or songs), In such cases I wont even bother to complain because the “itemising” is glaringly obvious and needless to say they are not my favourite kind of movies.
Here, however SR can make interesting characters, but gives in to the need (?) to objectify.
Though I didnt like 7G I dont have a problem if people liked the movie for whatever reasons but then I did find some of the scenes like the peeping tom ones or the bus scenes plain regressive. Its not necessarily the characters, but the presentation of women that I had a problem with.
The way I’d like to see strong women characters would be say a Jothika in Khaka khaka or Trisha in VTV or even Reema sen in Minnale (where she is presented sensually as well but rarely is it gross to watch from a female point of view). In fact Trisha;s char in VTV is flawed even still the presentation cant be questioned. These are recent but there are many actually say Revathi in a whole lot of her movies from maunaragam or Thevar magan etc.
Sorry that was long 🙂 Just got carried away I guess 😀
Agreed …. this movie is not a family watch, which will otherwise creates discomfort among the viewers unless they can tolerate till the climax.
do not watch….its exactly what u think it might be rather worse this one…..poor review, very misleading and surely not a 8….
Nice review, would have liked to have spoiler alerts at certain places. I liked the movie, but it did drag at few places in the second half. I really wish the movie didn’t have some the cliched scenes like the credit stealing photographer or the rushed climax. Selva being Selva, I have tried to explain some of them in my review. And poor GV, would be distraught if he comes to see your review 🙂
OMG.. I wish u cud share this review with GVP on twitter…. Its damn true what u have written about his music
What an excellent review. I haven’t seen the movie yet, but as Divya says, this makes me want to take a chance on a Selvaraghavan movie.
Sudhish, can you please come up with a separate post to justify your comment on GVP’s thefts? I am sure just like me there would be many interested in that.
I’m pretty sure you could just search for related terms on Youtube and find proof aplenty.
Even i need such list of copies,even if u want a list i might be of help @sudhishkamath
Selvaraghavan personal maturity in his own personality shows. There is a dramatic shift in his personality towards being more accepting of women. Even in Kadhal Kondaen, Sonia is motherly. I vaguely remember her asking if he is feeling cold or something, when he rolls up her frock or something. Mayakkam Enna is an extended version of his 7G in which she gives him a career by finding out what he is good at.
Also, this film is close chronologically to his second marriage which explains a lot of things. And in Kalaignar TV, he said that his new wife is a woman as Yaamini in the film. So, he is getting morally inclined and more socially conditioned.
And even more of a crass man is SJ Suryah who said that he was getting morally good when he went into oblivion. Selva seems to be doing better after this maturing phase.
In the film, if the second half forms the major chunk of the story, the first half should have chased his passion. That is the mistake. The first half is different from the second and not the second from the first. Probably, he tried to entertain through the first half.
Richa wiping bloodstains is just hysteric. I have seen women react like that in situations of such intensity. And, GV cannot be credited because in my review too, I credited Selvaraghavan for the music and not GV because both GV and Yuvan sound the same in Selvaraghavan’s films. I have personally learned that he is behind some of the lyrics of Na. Muthukumar who actually employed lyricists to write his majority of songs.
Mayakkam Enna is good in patches and is brilliant at times with the dialogues too. I liked the film for its (Selva’s) change of heart. Yet, a second watch would prove taxing though I watched it twice by default. One for review and one for a mandatory inevitable personal reason as a weekend ritual.
Crisp review. I liked your choice of words and stage-setting before you went into the actual review. I have not kept up with Tamil movies lately, but have my share of gripes about it. My only suggestion is to try to limit your length to 500-700 words – at that length, it becomes perfect. Lastly, thanks for helping me decipher what I have found wrong with Selvaraghavan’s movies all this while.
Really nice the way yu pened the movie and the Director… nice, let me also watch it ME…
I watched Mayakkam Enna and I gave it 6.5/10. Lets start with the strengths. I loved Selva’s portrait of a struggling artiste who wrestles with the twin horrors of rejection and despair on a daily basis. And yet almost masochistically, he loves his art despite the pain it causes him and is happy when he is working. It was a beautiful sketch and Dhanush does justice to the character.
Yamini was another beautiful character, though Richa was miscast. The neanderthals in the theater kept calling her vulgar names for having the balls to go after the man she loved but screw em. Kudos to Selva for understanding that every woman has the attributes of a lady and tramp and that does not necessarily make her one or the other.
Now for the minuses. After Karthik and Yamini all the other characters came across as seriously lame. It was like Selva drew two beautiful figures, did not like that the rest of the canvas was empty and simply threw in some stick figures. How else do you explain a character like Sunder who feels the need to have his photographer buddy tag along with his gal on Valentines day then proceeds to get drunk and wraps them in an embrace thereby bringing them together both literally and metaphorically? I expect better writing from someone like Selva.
The rest of the ‘buddies’ gang is equally lame. They are all supposed to be ‘friends for life’ but somebody like Venkat Prabhu does a far better job of bringing across the group dynamics of his band of boys than Selva does.
And finally, Sudhish, personally I hope that Selva’s Mayakkam Enna does not spawn a new kind of evil – The rise of the weak bastard who beats his wife and puts her through hell just because he does not have the bloody cojones to fight his own damn battles. Trust me, such bastards don’t get to make long – winded sentimental acceptance speeches on BBC, they go to jail for killing their wives while in a drunken stupor.
More disappointment after reading this review than after watching the film. Following Sudhish reviews for quite some time now, I think this is one of the weakest review/rating by him. As someone said, he has written more abt the director than the film. Maybe his closeness to Selva, wud hv made him write like this. There are lotta flaws/loopholes in the film which the review didn’t even touch upon. I agree with Anuja abt the ending. How can a tragic film like this ends in +ve note with suddenly things fall in place just like that (more like commercial climax)
I dont know why every person takes the liberty to “Critique” – this is one man’s movie his style ,his choice , saying things like -” there are loop holes”, “venkat prabhu does a better job in bringing group dynamics”,whether SJ surya is more crass, diff audience,etc……
c’mon guys ..holier than thou, i think this movie should be as any movie seen in isolation and appreciated for its content, ultimately its directors take how he sees and interprets events, there is no right or wrong, strong points or weak points,
just highlights our bias and prejudice, why do we want to see things as right and wrong,who gives us the right,if you dont like it its ok , the film was not for you.
why dont we learn to see it as it was meant to be ..from the directors pov, if you want your pov then each of the these commentators should make your own. btw iam not a big fan of SR
just bugged by some of the high falutin commentaries..
i am happy sudhish had done that.
i thought this was a engrossing good tamil movie, wonderful performances,good casting throughly engaging.
finally sudhish would you consider writing another review for this movie alone? leaving aside the stereotypes and prejudices of the director and his earlier creations.
Amal, I was going to write all the little things I liked but my friend Baradwaj Rangan did a comprehensive job of that, so I just thought of putting it in context of his other films… Which to me is THE reason why this film is not getting its due.
I am spending my valuable money expecting some kind of experience. So, if it disappoints, I have every right to ‘Critique’. Also I am not saying that the film has to go in certain directions or expected ending. But the director should do justice to the title, tagline, etc… which attracts me to the theatre 🙂
Both Kamath and Bharadwaj has become what we call “curd rice critic”.( evaluating all non vegetarian dishes with curd rice as the yardstick!)
They have to look down on anything first with their mighty intellect before reviewing,and if an inferior being (in their eyes) creates something nice and wonderful they will start with James McAvoy’s
sexual moves, Rocky’s subversive glory, selva raghavan’s downmarket voyeurism etc etc to make it acceptable to their mind.
It’s that incurable disease which turns everybody green!
All we need to do here is compare this two almighty’s own films with selavraghavan’s mayakkam enna.
Wow, Anuja and Vivek, you miss the point of the movie. Not everyone is perfect. If you think everyone who hits his/her spouse deserves to die, you’re either living in a bubble or extremely immature. It happens to a lot of people – mood swings, depression, angry fits, frustration over long periods of our lives. Some people manage to dig themselves out of such hell holes, and this movie told an inspirational story like that.
While Selvaraghavan’s movies have their share of adolescence and negative elements like voyeurism, having these negatives shouldn’t condemn anyone to death or being called a “bastard”. Hah, you guys need to stick to goody goody masala movies with uni-dimensional characters who’re either good or bad. I’m sure you side with Anna Hazare for flogging people who drink as well, hehe.
Seethu, you got it wrong. I didn’t say that the protagonist has to die. I said that type of climax will be better for a tragic film like this. First of all, pls understand that those who didn’t like this film means they will like masala films? Nope, Growup. Also u missed that this film also fixes itself somewhat in commercial format only…Better get educated, man!
I dont know why every person takes the liberty to “Critique” – this is one man’s movie his style ,his choice , saying things like -” there are loop holes”, “venkat prabhu does a better job in bringing group dynamics”,whether SJ surya is more crass, diff audience,etc……
c’mon guys ..holier than thou, i think this movie should be as any movie seen in isolation and appreciated for its content, ultimately its directors take how he sees and interprets events, there is no right or wrong, strong points or weak points,
just highlights our bias and prejudice, why do we want to see things as right and wrong,who gives us the right,if you dont like it its ok , the film was not for you.
why dont we learn to see it as it was meant to be ..from the directors pov, if you want your pov then each of the these commentators should make your own. btw iam not a big fan of SR
just bugged by some of the high falutin commentaries..
i am happy sudhish had done that.
i thought this was a engrossing good tamil movie, wonderful performances,good casting throughly engaging.
finally sudhish would you consider writing another review for this movie alone? leaving aside the stereotypes and prejudices of the director and his earlier creations.
And that raw, edgy, bold crassness has always been his signature because people hailing from that lower middle class economic background were like that.
Arent you the Einstein reincarnate. Do you even read and make sense of what you write ?
Awesome review. Youngsters should watch alone to get a feeling of it instead of going in gangs which results in teasting instead of experiencing it. It is difficult to believe that it is debut movie of Richa and I like her acting as well as eyes.
About “Copy Cat GVP”, For starters try googling “Copy Cat G V Prakash”
I wont say u have to blv SK, but here are some facts u can look into b4 taking the side of GVP
1. http://www.youtube.com/watch?v=fZFNGGxMP7E (Sooriyane, Velli Thirai)
2. http://www.youtube.com/watch?v=afDqpklXN4k&feature=related (Aadukalam BGM)
3. http://www.youtube.com/watch?v=02A3E4BYk90 (Pa Pa Paa,Deivathirumagal)
4. http://www.youtube.com/watch?v=Twc6fQZru70(AO)
5. http://www.youtube.com/watch?v=nEoGZUdWQyQ (Thediyae, VA Quarter)
6. http://www.youtube.com/watch?v=jqE8M2ZnFL8 && http://www.youtube.com/watch?v=jp_oyHY5bug (ME Theme)
Phew i am disgusted. For other copied tracks pleae help yourself with google and YT
In addition to this, the Mayakkam Enna also has music plagiarised from http://www.youtube.com/watch?v=6sWll2mqPD0&feature=youtu.be (Listen to this part of the ME score: http://getfile1.posterous.com/getfile/files.posterous.com/temp-2011-11-26/JrylHuxqzeahzhCvblgEaFzxoqkDmhBHHCzzHszviccJemqFxJzxyBGjosjp/Mayakkam_Enna_-_04_-_Karthiks_Click.mp3)
Not to forget a part of the Exorcist theme. (Hat tip: Kannan Venkat, P.S. Suresh Kumar & Sathish Justin)
It’s kind of funny that he stole from Grand Theft Auto & then tried to exorcise rumours about the theft.
Yeah. May be we should call GVP’s copying game as Grand Theft Audio (GTA). What a Loser! 😀
Try to share all these original track links in your twitter acc and lets see what answer he has in store for us :p
I say your puny to write “SR is happy with the use of copied music”
Wish i too had the right financial support,infrastructur,contacts and access to all the music round the world :)….will surpass GVP :)….getting into this industry is difficult …think surviving is a lot more easier ….few clips from oriya..few from assamese..few from gujarati and a few touch from the west…wow i too will become a music director….
it was a nice review up there….got a chance to see the movie on the first day !!….Nicely potrayed by Selva…. Dhanush was good in his way of causal acting i say…wonder he is the same off screen.(@home)….yes indeed the lady was the movie’s cynosure..very well brought out by selv…liked your comment on that part !!…..
“when the man asks his assistants to throw him off the set, there is no stereotypical portrayal of goons pushing him to the floor to dramatic music.”….ha ha ha typical way of indian movies :)…..with a sad music at backgroun..tut tut tooonnnn 🙂
KKR, get ur ears checked..wasted my time going through the clips..there are loads of videos of yuvan/ARR/Harris copied videos on youtube posted by some wackos..enjoy that as well
Directors of DTM and Vellithirai demanded GV for that tunes..he has repeated told in many interviews
Dear MD..
These things should be told during the audio launch.. that the director wants demanded this tune.. so we kept the same.. tats the deal..
when yuvan is concerned he has given credits for the kadhal kondaen 3 songs in jaya tv interview, he admitted openly.. and mankatha theme music also in indiaglitz interview..
These open heart mind should be there for you, to not to blame u as copy cat..
I never supported yuvan/Harris/ARR. Did i? Get your eyes checked my friend along with your ears of course. And GVP said that it was “coincidental” that the tunes sounded similar. I think people (atleast those like me) are not mad enough to believe such things. And if GVP is “copying” tunes why is he not giving the due credits for that in the album cover/movie? Even Yuvan (out of some guilt i guess) gave credits to ’50 Cent’ for the Mankatha theme. So instead of just blurting out some comments, get your FACTS right.
And as for as the links posted, if you cant find that the tunes are a complete rip off, then god save people like you. I guess it’s because of people like you that these MD are thriving.
I’m tired of the plagiarism that is on the rise in Kollywood. If copy/pasting is all you need to do to be a MD then as JIthendra mentioned anyone can do it.
How many of the music directors had told that i have copied this song from some other album…?????
No one had that ability to say that except yuvan !!
is there any music directors who hadn”t copied any songs from others work..??
lots of them are doing but only yuvan will accept it..
Thala yuvan rocksss really as a human too..
Did G.V or harris told in any interview that i have copied this song from albums..??
Director Vetri Maran gave due credits to the movies that inspired him to make “Aadukalam”
If Directors “demand” GVP why didn’t GVP add credits for most of the rip off’s he gave in the Aadukalam. Did VM stop him from doing so?
http://www.backgroundscore.com/2011/01/aadukalam-background-score.html
KKR, my point is no one is perfect..I swear even IR has blatantly lifted YAnni’s piece in his movies..Only GVP is being targeted i wonder why..
AND TO SUHDISH,PLEASE ACCEPT THE FACT THAT EVERYONE COPIES
dai dubakoor sudhish..everyone copies..tarantino proudly copies..matrix film is a shameless rip off of a comic..black swan was a rip off too..led zeppelin has stolen some 30-40 tracks..so did r d burman.
Stop targetting this little kid
#ok
ahhahaah seriously ok?!
Yathe Yathe copied from a devotional number. WTF!!
Thanks to someone who started a war on twitter, lots of such plagarism tweets on GVP are coming out :p
The “Copy Cat” is out of the bag.
P.S: Sorry SK for bombarding ME review with these comments. If only you could post a seperate post on the copycat 😉
I seriously dont think this is as Much of a copy than an inspiration ….. it’s only the starting of the song that has the same TUNE ……. other than that it’s different …. maybe if you can find the rest of songs from which they were copied from i’ll believe GVP is harris jayaraj ………..If not your wrong
Here’s a comprehensive site maintained by Karthik, about all the ‘inspired’ numbers in Indian music scene.. There are atleast 4 entries on GVP..
http://itwofs.com/tamil-others.html
After seeing the movie i m not sure if i loved it or not.Maybe cos i didnt get to see the movie properly with all the jeering in the theatre.but ur writeup swung it though..very persuasively written 🙂
BTW there are ppl talkin that this film is copied frm A Beautiful Mind..dunno what makes em say that
this is nothig but suriya vamsam part 2..i don dnw why everyone is talkng as though selva has made a critically acclaimed film..this movie is a piece of shit..
Haven’t you heard the goblet of fire, the silent man of Yanni and Roja’s Pudhuvellai Mazhai(ARR). I am annoyed, anyone who’s someone in indian cinema music copies. Instead of picking on one Mr. GVP, we must try to figure why a country of nations so rich on classical and folk music tamely copies! And SK, I think Selvaraghavan to me is anyday better than Manirathnam. Coz he portrays real people. And imao the best in tamil cinema in terms of direction, I have seen Rudhraiah(aval appadithaan fame)> Mahendran > balu Mahendra> Bharathiraja > Kamal > Selva > Vetri maran > KB > Mani >Bhagyaraj > Parthiban!
Dude, why are you trying to create something out of nothing? Romba over-analysis. Also, why this sudden hate for plagiarism? I don’t understand how you can be in the business of reviewing Indian movies if you can’t tolerate plagiarism.
Never a fan of SR, I had no intentions of watching Mayakkam yenna .. But read your review and did see it over the last weekend. Several flaws, commercial climax, bad choice of heroine.. but seems like the director did step in the “right” direction 🙂
Sudhish- Excellent review – very convincing!
i love thanush. for this wonderful movie i can leave my life i loven it,thanush is thalapathi,thala,little star,super star,all in world i loven only one person thanush