Savour the period flavour
INTERESTING FARE: Uliyin Osai
Cast: Vineeth, Keerthi Chawla, Akshaya, Manorama, Sarathbabu, Kovai Sarala, Ganja Karuppu, Thalaivasal Vijay, Sriranjani, Balasingh and Udaya.
Storyline: A love triangle involving a sculptor and two damsels.
Bottomline: Stands out for its climax.
The script of M. Karunanidi, the music of Ilaiyaraja and camera by B. Kannan — do combine to make J. Nandhini Arts ‘Uliyin Osai’ an interesting fare. Obviously missing are the stars — Sivaji Ganesan, Muthuraman, Sivakumar,
Savitri, K.R.Vijaya and so on with whom director A.P.Nagarajan made hits of such themes.
History and fiction blend in this story, written years ago but not obsolete. After all it is through such films that one can get glimpses of the lifestyle of kings and queens and the culture during the period. It is a charming story that Karunanidi has spun with a climax that leaves the audience surprised. His dialogue is another plus point.
Chola King Rajarajan (Sarath Babu) is crowned on June 25, A.D. 985. An exemplary ruler, he he wants to build a big temple in Thanjavur. He asks his son Rajendran to find a sculptor who knows all the seven dances poses of the god. The prince brings the best sculptor Iniyan (Vineeth) for the job. He also finds a beautiful girl Chamundi (Keerthi Chawla) as his model.
Another dancer who wants to be the model is Muthunagai (Akshaya). Her desire thwarted by the sculptor, she attempts suicide but Iniyan saves her. The girl falls in love with the sculptor, who is holding a torch for Chamundi.
Vineeth as the sculptor has done his work with conviction. Being a dancer, his talent has been well-exploited. But the make-up department has gone overboard. In fact, that is the case with several other artists too.
Keerthi Chawla plays two roles — Chamundi and princess Panchavan Mahadevi — and it is in the latter that she excels. Akshaya does not fritter away the opportunity, with her dancing skill coming in handy.
Manorama as Azhagi, who provides food for the workers fills the bill and partially succeeds in her attempt to raise a few laughs teaming up with ganja Karuppu. Kovai Sarala, ‘Thalaivasal’ Vijai, Sriranjani and Balasingh sail through their roles.
Ilaiyaraaja’s acumen in re-recording is evident in a number of scenes, particularly where Muthunagai comes to the sculptor’s place to inspect his work. The background score flows like a beautiful river pausing for a second before resuming. Work of the highest order.
Most of the seven songs are pleasant, ‘Kalathai Venra Kalainganivan,’ sung by Bhavatharini and Sriram Parthasarathy being the most appealing.
B. Kannan’s camera does justice to the director’s imagination, especially in the outdoor songs and the darbar scenes. Kannan also makes a brief appearance. The work of art director Mahi is generally of a high calibre. Only he should have paid more attention to details while depicting chiselled stone. The film is produced by Arumuganeri S.P.Murugesan.
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