Vendhan’s Mayanginen Thayanginen starring Nitin Sathya, Disha Pandey, Pawan, Tharun Shatriya, Tejasri and Ajay Rathnam has hit the screens this week. The makers boast that it is a romantic film, filled with unusual twists and turns. 

Apart from the main story line, there are three more stories talked about in Mayanginen Thayanginen. But neither has the smallest link with the main story line, which is supposedly Nitin Sathya’s. The director has also stuffed the script with all possible tragic events.

Can we ever forget the old movies where the lead actor, who has a low earning job, has a crippled sister, a well educated but unemployed brother, seriously ill mother, father a drunkard, and as if these are not enough troubles a villain hunting for his life? Well, director Vendhan, for a change has given a similar scenario to the film’s heroine Disha Pandey. Later, when Nitin Sathya falls in love with her, his fate completely changes.

Ganja Karuppu, Pawan and Tharun Shatriya play the friends of Nitin Sathya. But, their relationship hasn’t been properly established. Ganja Karuppu’s cousin loves Pawan, and Tharun falls in love with Ajay Rathnam’s wife, Tejasri. But, both tracks hang unlinked to the main story. Ajay Rathnam plays a bad cop and a bad husband. His story in the film too appears unnecessary and insignificant. Sanjana’s item number doesn’t fit the situation.

The technical department fails to impress in the film. Rameswaran’s cinematography appears less professional. For instance, it is not hard to notice the lens being adjusted during the opening of the film. Editing was understandably jumpy, after all it went through a hundred cuts to get a U certificate. Music director Kannan has done a pretty decent job. His songs, particularly ‘Kanavil Neeyum’ is melting. But, it looks as if he lost interest while doing the BGMs. His idea of using a lugubrious Nadaswaram tune for a death scene is definitely old school and very disturbing.

Most of the dialogues were too poetic (like Maane, Thene, Pon Maane). Every character in the film seemed to possess a poet in him or her. The hero’s usage of chaste Tamil to explain his love was unnatural.

The lusty dialogues and excessive glamour stuffed in the film cause nothing but irritation. There were also scenes reminiscent of at least three films released earlier. Other problems were continuity, unexplained and implausible happenings, mismatched SFXs and so on.

On the whole Vendhan’s Mayanginen Thayanginen is a strenuous watch.

Verdict: A mere list of tragedies