Bharathiraja’s Kangalaal Kaithu Sei was a big disappontment. Given Bharathiraja’s earlier thrillers like Sigappu Rojakkal, Tik Tik Tik and Captain Magal, this movie wasn’t even close to any of them. First of all, this cannot be even called a thriller. Cause there was nothing in the movie to be thrilled about.
B.Raja still loves to remain in 80s where he was the master of the game. I was majorly disappointed because of the splendid trailer that they etched out for this movie. The promos were classy and called for the best movie making capabilities. But unfortunately the movie was loosely connected with the story. Also we have no clue as to how the hero manages to steal the diamond.
The major let down was the characterizations. In this millenium, a enthusiastic young business man who actively screws up a reporter who asks a stupid question, behaves like a jamindaar in his house. The way in which the hero communicates with his hand to his servants is irritating and looks like S V Rangarao types.
A R Rahman has worked really hard to bring out some really good numbers. Aha Thamizhamma and Azhagiya Cindrella song stays in hearts. I loved the audio of Anarkali song which has some amazing tabla music. But the picturisation was bad with the heroine dressed in Anarkali costumes runs in the sea shore all along the song. Sujatha‘s dialogues just shine in few places.Also the editing which is synonymous to Alaigal Oyivathillai times is very disturbing the pace of the movie.
Priyamani, the heroine looks nice and I hope she would do well in her next movie with Balu Mahendra and Dhanush called Athu Oru Kanaakkaalam. In KKS, She was left with no scope to act. Being compared with the cindrella doll, she behaves just like a doll. Mudhal Mariyadhai is one Bharathiraja’s best film ever. I only hope he can still films like that, which can stand over time.
Are u thinking that I am still puzzled how the hero was able to steal the diamond. Never mind I didn’t understand the rest of the movie also.
kirukkal.com 
6 responses to “Kangalaal Kaithu Sei”
Why I Love Silent Film PUSHPAK
I Have viewed pushpak for atleast 16 times and I am still viewing it whenever I feel like seeing it. This silent film is a classic. It has become a ritual for me to watch this film every year.
When I decided to see pushpak I was bit apprehensive because I thought whether a film without dialogues will be interesting, but when I actually saw the film I never realized that this film is a silent film, because of superb acting from lead pair, kamalhassan and Amala.
I can call pushpak a celebration of nuances.
What I liked about pushpak is each and every situation is interlaced with humour, even a death sequence has so many nuances and underlying humour.For example when the owner of the 5 star hotel dies the relatives will pay homage to him, in that shot we can see the relatives fake emotions and in the same shot we can see kamal and amala use that death for their romance.
One of the scenes which I cannot forget is when kamal does not gets sleep in the five star hotel he goes back to his down market place and records the sounds and comes back to five star hotel and plays the recording to sleep.
The most unforgettable scene is when kamal takes amala for a date and exhibits love via his actions,I cannot forget those scenes for life time, only a die hard romantic can understand the underlying meaning in those superblt crafted scenes.
Crisp screenply makes pushpak even memorable. L.vaidyanathans background score leaves you mesmerized, it is with the mood of the film.
Whenever I see the climax of the film my heart becomes heavy as I can feel the pain of the lead pair.
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Why I Love Silent Film PUSHPAK
I Have viewed pushpak for atleast 16 times and I am still viewing it whenever I feel like seeing it. This silent film is a classic. It has become a ritual for me to watch this film every year.
When I decided to see pushpak I was bit apprehensive because I thought whether a film without dialogues will be interesting, but when I actually saw the film I never realized that this film is a silent film, because of superb acting from lead pair, kamalhassan and Amala.
I can call pushpak a celebration of nuances.
What I liked about pushpak is each and every situation is interlaced with humour, even a death sequence has so many nuances and underlying humour.For example when the owner of the 5 star hotel dies the relatives will pay homage to him, in that shot we can see the relatives fake emotions and in the same shot we can see kamal and amala use that death for their romance.
One of the scenes which I cannot forget is when kamal does not gets sleep in the five star hotel he goes back to his down market place and records the sounds and comes back to five star hotel and plays the recording to sleep.
The most unforgettable scene is when kamal takes amala for a date and exhibits love via his actions,I cannot forget those scenes for life time, only a die hard romantic can understand the underlying meaning in those superblt crafted scenes.
Crisp screenply makes pushpak even memorable. L.vaidyanathans background score leaves you mesmerized, it is with the mood of the film.
Whenever I see the climax of the film my heart becomes heavy as I can feel the pain of the lead pair.
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KKS is a big let down from Bharathi Raja. In fact, his slide started from Tajmahal. It was quite clear he was away from Youthful thoughts and out of touch with trends among youngsters.
It was also shocking to see the hero and heroine devoid of acting skills whatsoever. I cant believe that a Bharathiraja hero/heroine did not act well.
‘Muthal mariyathai’ is one of my BR favorites. I liked his ‘Vedham puthithu’ a lot. WHile lot of brahmin bashing was there, they were not something of exaggerated but a natural one, and he even was bold enough to point out the ‘Thevar’ jaathi thimiru in Satyaraj (“Baalungarathu unga paeru, Thevarngirathu neenga padichi vaangina pattama?”). At the same time, he beautifully brought the value system some devout brahmins follows and how meaningful they are(Chaaruhassan getting angry with Raja for choosing to read vedas as a path for romancing with his daughter)
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KKS is a big let down from Bharathi Raja. In fact, his slide started from Tajmahal. It was quite clear he was away from Youthful thoughts and out of touch with trends among youngsters.
It was also shocking to see the hero and heroine devoid of acting skills whatsoever. I cant believe that a Bharathiraja hero/heroine did not act well.
‘Muthal mariyathai’ is one of my BR favorites. I liked his ‘Vedham puthithu’ a lot. WHile lot of brahmin bashing was there, they were not something of exaggerated but a natural one, and he even was bold enough to point out the ‘Thevar’ jaathi thimiru in Satyaraj (“Baalungarathu unga paeru, Thevarngirathu neenga padichi vaangina pattama?”). At the same time, he beautifully brought the value system some devout brahmins follows and how meaningful they are(Chaaruhassan getting angry with Raja for choosing to read vedas as a path for romancing with his daughter)
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Love songs in Bharathi Raja’s film feels like watching XXX film with the whole family. I began to notice this first in Karutama.
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Love songs in Bharathi Raja’s film feels like watching XXX film with the whole family. I began to notice this first in Karutama.
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