Yennai Arindhaal

Unlike the usual thala movies, Yennai Arindhal does not charge you with that extra horsepower - even when you are not watching the movie in one of those multiplexes where they heartlessly sell a tub of popcorn for a quarter of a thousand rupees. But what it does to you is something good, if not better, perhaps. Director Gautam (GVM) has finely recycled his earlier cop movies and Vaaranam Aayiram that glorified a daddy-son relation to bring out this film that flows like a serene, beautifully meandering stream which has only the reflection of the sun called Ajith Kumar constantly following it in its journey. And a sail down this stream is definitely pleasant. Full credits to GVM, for convincing the star to be a part of this gentle paced movie; and top score for Ajith Kumar too for grabbing the offer. Here is a movie that does not have an intro song for thala. Here is a movie that does not have flying Sumos, stupid punch dialogues, songs set in Switzerland with the group dancers covered in rangoli, silly slapstick comedy, childish heroines who perform item numbers and classical renditions with equal aplomb, a loud villain with his foolish deputies, and the final climax stunt where the hero kills about four dozen armed men including the loud villain.

Though sprinkled with moments of suspense that at times border on confusions, YA has an overall neat non-linear narrative that traces the life of Satyadev (Ajith Kumar), a cop who is torn between the action-filled world of policing and a small world of happiness. The star, well supported by comedian Vivek (not retd.), has carried the movie deftly on his shoulders with great ease and much needed restraint at the same time. YA once again goes to prove when Ajith is on screen you do not look at anyone else. Special mention has to be made about Trisha Krishnan, for gracefully maintaining her position as a police officer's love interest even a decade after Saamy's release. It is a tough task, actually. The Australian cinematographer Dan Macarthur has given us impressive visuals that blend smoothly with the script. Arun Vijay sparkles as Victor Manohar, the small time rowdy who later takes shape as the big, bad guy in control of the city's organ trade. But the entire ecosystem of the organ business, where people are kidnapped, killed and their hearts and livers harvested by some foreign doctors for lots of money, looks incredible at the surface and insane after a serious thought. Do such gangs really exist? Or is this crazy imagination? Luckily, the movie does not stay here for long. It moves on. The melody numbers are placed well; Harris Jayaraj has given a decent album. But some silence here and there would have made the back ground score more engrossing. 

YA is a good watch for the simplest reasons that GVM has retained his identity in spite of Ajith Kumar; and the star has managed to pull off the movie in spite of the limited scope it offers him to wear blazers and sunglasses. This is a good sign for Tamil cinema, and a strong signal for the other super heroes of Kollywood.