“In Ponmagal Vandhal, a lawyer is permitted to go on tangential, emotional rants. A judge, who looks like a deer caught in headlights, lets out a scream of anguish. When confronted by a professional like Rajarathnam, who says that the judge summoning his client is without any basis, he channels his inner Petta Rap Nagma and screams, “Stop it!””
“Kaada muttai (quail egg). Muththuna aamai (overripe tortoise). Asingamaana moonji (revolting face). Echchathattu moonji (a face like a used plate). Kaatu muni (wild hermit). Kaateri (lamia). Kaatu erumai (wild buffalo). Pardon my rather offensive beginning to this review, but I’m simply recounting the many descriptions of Yogi Babu’s appearance in Jackpot.”
“Remember that last scene in Baasha when a defeated Mark Antony sees Manickam striding towards him, and can’t help but see flashes of Baasha, as he once knew him? As Jyotika, playing the role of Geetharani in Raatchasi, delivers supposedly rousing monologues and walks towards the camera, I found myself seeing flashes of Samuthirakani.”
“The years roll by, but our jokes continue to target obesity, dark complexion, unattractiveness, homosexuality… Oh, and there’s one later about erectile dysfunction.”
“While people pump each other with bullets, Rahman’s music remains observant while being strangely detached. It’s a shrug of the narrator’s shoulder, at the unstoppable tragedy of it all.
Chekka Chivantha Vaanam is a shining example of song integration into story. Pay attention to how variations of Sevandhu Pochu Nenju get used in this film in bits and pieces. Or even better, how about Mazhai Kuruvi, which transforms from love to lament?”