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"Unnai Charan Adainthaen"



Venkatprabhu, Meera Vasudevan and S. P. Charan in "Unnai Charan Adainthaen" ... witty dialogue is a strong point.

LONG TIME friends and mutual admirers come together after quite a while in Capital Film Works' "Unnai Charan Adainthaen". The title track written by Gangai Amaran and sung by M. S. Viswanathan, Ilaiyaraja and S. P. Balasubramaniam, sets the mood for a two and half hour nostalgic trip for folks familiar with the film scenario that existed nearly three decades ago.

A family project more or less, "Unnai ... " has been produced by S. P. Charan, the composer is S. P. Balasubramaniam and the singers include S. P. Shailaja and S. P. Pallavi.

Youngsters storming the film world is a norm today. The latest to join the bandwagon is Samudirakani, who heads the team with his story, screenplay, dialogue and direction. The story, though illogical at times, has some depth, the dialogue sparkles with wit and direction shows acumen. However the screenplay plays spoilsport, dragging on unnecessarily towards the end. Nandha (S. P. Charan) and Kannan (Venkatprabhu) are childhood friends. The latter's love for Nandha goes beyond friendship — it is blind devotion. But Nandha is selfish and wants Kannan to be under his control forever. He has no business to fall in love or get married, he feels!

Enters Bobby (Meera Vasudevan) and things change. Nandha warns her that if she is in love with Kannan, she had better be ready for disappointment, because he will not let his obedient friend stray away from him. Bobby accepts the challenge, and in this game of one-upmanship, Kannan becomes a hapless pawn.

Venkatprabhu as the nave villager, who is taken advantage of by his own friend, presents an appealing essay for the most part, though there are melodramatic overtones too. When possessiveness drives Charan almost to a psychotic state, you expect further development of the character. But no such thing happens. Charan as the deep, quiet and scheming Nandha is appreciable. Meera Vasudevan, the heroine, reminds one of Poornima Jayaram and her enactment of the adamant girl besotted with a country bumpkin is up to the mark. Savitha who has dubbed for her, shares the credit for the effective portrayal. Riyaz Khan ought to rein in his tendency to be theatrical. It is a two-scene role for `Nizhalgal' Ravi, literally. But Ilavarasu steals the show with his intonation, expression and unique dialogue delivery. Anju, the mesmerising kid of "Udhiri Pookal" fame, is Ilavarasu's wife and the mother of a college student! If only this talented, young actress could shed her obesity, stronger roles are bound to come her way. "Ippo Ingae ... " is a foot-tapping song rendered by Venkatprabhu.

No gradual development of the bond between Nandha and Kannan is shown. The two are separated in childhood and next you see them as grownups. Whether the two were in touch at all is a big question. The heroine whisks away Kannan in her car to a farmhouse. If it belonged to her family, why the police takes such a long time to track them down is a puzzle. Her reason for falling for Kannan who is so different from her, is not a plausible one. At a time when the industry is swarming with incredibly young heroes, the makers ought to be commended for their courage to choose one who looks far from young. That he acquits himself well is another matter.

It is a pity that the film, racy and absorbing in the first half, gets bogged down and drags in the last forty minutes.

MALATHI RANGARAJAN

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