that’s just the feel, thankfully, and not the content, which is blessedly homegrown, and which appears to have been cultivated under the shadow of Ilayaraja. When I watched the numerous references to the maestro’s music in Subramaniyapuram, I figured it was because the film was set in the eighties. But what, then, explains the O papa laali ringtone in Pasanga, or the prelude of Paadavandhadhor gaanam being employed to underscore a romantic moment? In a similarly reverential vein, the equally contemporary Kungumapoovum Konjumpuraavum features, in quick succession, Vandhanam vandhanam, Paattaale buthi sonnaar, Velakku vacha nerathile, Solam vedhakkayile, Aaha vandhiruchu and Ore naal unai naan.