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**NeroASERCH** · 07-09-2009, 06:09 AM

Vaalmiki
Genre: Sentiment

Director: G. Anantha Narayanan

Cast: Akhil, Meera Nandan, Devika

Storyline: Tragedy and guilt change a petty thief into a social worker.

Bottomline: Inconsistent in output, certain scenes are hard hitting, a few are vague and others appealing.

Why go to the village for a story of the deprived? The city of Chennai has material enough, writer-director G. Anantha Narayanan seems to say. Set in the slums for the most part, Vikatan Talkies’ ‘Vaalmiki’ (U) provides a little insight into the lives of thieves.

The title is a giveaway — it’s a story of robbery and reformation. Paandi (Akhil) is a thief. He happens to meet Vandana (Meera Nandan) who runs a playschool for kids. A do-gooder, she empathises with those who’ve lost their lives and belongings to burglary. She has enough reason for it. Kanaka (Devika), who has a roadside eatery, completes the third angle of the romantic triangle of ‘Vaalmiki.’

Steering clear of formula

Akhil has a long way to go in performance and the first step is shedding the self-conscious demeanour. Meera Nandan is a charming find for the big screen and does her part commendably. But why are heroines so unbelievably naïve? She keeps telling Paandi that he’s a good man! Initially the irony is funny, later it’s sad but finally it becomes exasperating. Devika as the slum dweller in love with Paandi is spontaneous and contributes to the oomph appeal. Thankfully, the film eschews formulaic stuff.

‘Badava’ Gopi makes a foray into tinseldom with ‘Vaalmiki.’ When mentally affected he reveals an obsession for footwear — the relevance remains an enigma till the end!

The play put up by the school kids is pell-mell. Neither the children nor the viewers are sure about what’s going on. The lighting doesn’t make things clear either, and the intended comedy in the scene falls flat.

The ‘Poo Sirikkuthu’ song takes you on a stroll down Ilaiyaraja’s early music years, while the earthy refrain of ‘Ennada Paandi’ in Ilaiyaraja’s base has a haunting feel to it. The fake film production office set up by Paandi and his accomplices, and its aftermath are hard-hitting. The vulnerable girl who is lured into dreams of becoming a heroine loses all her wealth to abettors. She is driven to despair and when Paandi meets her later it’s not just he who is shocked by the girl’s fate. The reality behind the predicament disconcerts the viewer too!

The story, like in Akhil’s debut film ‘Kalloori,’ unfolds in flashback, the hero continues to remain estranged from his sweetheart the second time round, and yet again the finale has him remembering his loved one with misty eyes!

MALATHI RANGARAJAN

http://www.hindu.com/fr/2009/07/03/s...0350280200.htm

07-09-2009, 06:09 AM	#30
NeroASERCH Join Date Jul 2006 Posts 5,147 Senior Member	Vaalmiki Genre: Sentiment Director: G. Anantha Narayanan Cast: Akhil, Meera Nandan, Devika Storyline: Tragedy and guilt change a petty thief into a social worker. Bottomline: Inconsistent in output, certain scenes are hard hitting, a few are vague and others appealing. Why go to the village for a story of the deprived? The city of Chennai has material enough, writer-director G. Anantha Narayanan seems to say. Set in the slums for the most part, Vikatan Talkies’ ‘Vaalmiki’ (U) provides a little insight into the lives of thieves. The title is a giveaway — it’s a story of robbery and reformation. Paandi (Akhil) is a thief. He happens to meet Vandana (Meera Nandan) who runs a playschool for kids. A do-gooder, she empathises with those who’ve lost their lives and belongings to burglary. She has enough reason for it. Kanaka (Devika), who has a roadside eatery, completes the third angle of the romantic triangle of ‘Vaalmiki.’ Steering clear of formula Akhil has a long way to go in performance and the first step is shedding the self-conscious demeanour. Meera Nandan is a charming find for the big screen and does her part commendably. But why are heroines so unbelievably naïve? She keeps telling Paandi that he’s a good man! Initially the irony is funny, later it’s sad but finally it becomes exasperating. Devika as the slum dweller in love with Paandi is spontaneous and contributes to the oomph appeal. Thankfully, the film eschews formulaic stuff. ‘Badava’ Gopi makes a foray into tinseldom with ‘Vaalmiki.’ When mentally affected he reveals an obsession for footwear — the relevance remains an enigma till the end! The play put up by the school kids is pell-mell. Neither the children nor the viewers are sure about what’s going on. The lighting doesn’t make things clear either, and the intended comedy in the scene falls flat. The ‘Poo Sirikkuthu’ song takes you on a stroll down Ilaiyaraja’s early music years, while the earthy refrain of ‘Ennada Paandi’ in Ilaiyaraja’s base has a haunting feel to it. The fake film production office set up by Paandi and his accomplices, and its aftermath are hard-hitting. The vulnerable girl who is lured into dreams of becoming a heroine loses all her wealth to abettors. She is driven to despair and when Paandi meets her later it’s not just he who is shocked by the girl’s fate. The reality behind the predicament disconcerts the viewer too! The story, like in Akhil’s debut film ‘Kalloori,’ unfolds in flashback, the hero continues to remain estranged from his sweetheart the second time round, and yet again the finale has him remembering his loved one with misty eyes! MALATHI RANGARAJAN http://www.hindu.com/fr/2009/07/03/s...0350280200.htm
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