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Aasai Aasaiyai...



"Aasai Aasaiyai... " another homage to love.

IF A good theme inspires you there's nothing wrong about it. Provided the outcome of your inspiration proves a laudable exercise. It is when it becomes a hotchpotch of ideas not well melded, that the viewer gets restless.

This 50th film from Supergood Films' is another homage to love on the lines of "Kadhalukku Mariyadhai". The story is, of course, different. The film begins on a note of levity and light heartedness, but the pranks of the hero and his friend (Kakaji) tire you in no time. It is only when the hero decides to forget romance temporarily that "Aasai Aasaiyai" kindles some interest.

Vinod (Jeeva) falls in love with engineering college student Brinda (Sharmili). But when she reciprocates his love, he realises that each has responsibilities to fulfil before plunging into matrimony. Brinda's father Sankaranarayanan (Nasser) is shattered when his elder daughter elopes with a wastrel. His only worry now is that Brinda could toe the sister's line. (This is more like "Kadhal Mannan")

For Jeeva and Sharmili "Aasai Aasaiyai" marks their debut. In the scene in which his father (Vijayakumar) seeks voluntary retirement, Jeeva makes an impression. Sharmili, a known television face, again has one sequence where she does a creditable job — her convocation address in which she thanks her father for her success. (Nasser's reaction in this scene is particularly commendable). But otherwise nothing much is expected of the lead pair. The role of Kakaji, the comedian is an apology for humour and borders on the repulsive. Vijayakumar once again acquits himself as a seasoned performer.

"Aasai Aasaiyai" has S. Ravimariya at the helm — it is his story, screenplay, dialogue and direction. Jerks in the narration and unexplained sequences make certain situations appear distorted. Anandraj's telephone conversation in the climax, the appearance of Nasser's elder daughter suddenly at the wedding and Anandraj's apology, after his planned attack on Vinod at the temple, are a few examples. Probably editing too had a hand in the confusion. Incidentally, Anandraj lends dignity to his role of the family friend of Nasser.

Nearly every Mani Sharma number reminds you of an old song.

Supergood Films could have surely done better in its 50th venture.

MALATHI RANGARAJAN

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