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Love tale not wholly gripping



DECENT DENOUEMENT: Oru Naal Oru Kanavu

Oru Naal Oru Kanavu
Genre: Romance
Director: Fazil
Cast: Srikanth, Sonia
Agarwal, Ilavarasu, Sathyan
Storyline: When Cheenu from a middle class home and the rich Maya meet _
Bottomline: Love yarn yes, but not typical Fazil

The opening line of the lilting number from his `Kannukkul Nilavu,' forms the title of Fazil's latest release that has Srikanth and Sonia Agarwal in the lead. Lakshmi Movie Makers India Ltd.'s `Oru Naal Oru Kanavu' (U) with story, screenplay and direction by Fazil bears the maker's stamp in the decent denouement of love, but is it as absorbing as his earlier films is the question.

Cheenu (Srikanth) is a hardworking son in a family comprising his three sisters and parents, and crossing his path often is the rich Maya (Sonia Agarwal). The two are at loggerheads throughout. No marks for guessing that they are deeply in love with each other, though it takes them some time to realise the fact!

Crying out aloud is just not Srikanth's forte. And sadly he is made to indulge in such emotional outbursts often in `Oru Naal ... ' Otherwise the young man is his ebullient, energetic self. Sonia and Srikanth seem to have struck a rapport off screen, which rubs off admirably on screen too. It's heartening to note that the heroine's eyes have learnt to look cheerful in the joyous scenes — a neatly executed show from Sonia. While on the subject of eyes that smile, the three girls who play Srikanth's sisters deserve mention — the genuine warmth (in the song sequence in particular) makes their portrayal real. Sathyan's characteristic intonation in dialogue delivery that reminds you of Satyaraj, is thoroughly enjoyable.

Beauty of Kerala

Exquisitely showcasing the beauty of the homes and the lushness of God's Own Country is Anandakuttan's camera. So eloquent is the setting (with Mani Suchitra's art accentuating the impact) that you are reluctant to leave Cheenu's home. Ilaiyaraja and Fazil have always made a heady pair — `Oru Naal ... ' is no exception.

The scintillating `Kaatril Varum Geethamae' that also forms the theme score is bound to become an aural addiction, while the melodious `Khajuraho' has all the makings of a hit. `Konjam Thira ... ' is another example of lyricist Vaali's imagination and skill with words.

Fazil, who has always been known for his plausible, well-etched storyline and screenplay, slips towards the end. Whatever happened to the ace maker of `Kannukkul Nilavu' and `Kadhalukku Mariyadhai,' in the second half? Obvious confusion and hurry to speed up proceedings in the latter part, the sudden discovery of the palm leaf manuscripts that turn Cheenu into a millionaire almost overnight, the contrived climax where Cheenu's family stands in an organised row (!) in front of Maya's house and the clichéd manner in which the hero emerges from the wings on cue, are just not your style Mr. Fazil!

MALATHI RANGARAJAN

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