It’s the season of title feuds and Sundarapandian produced by actor/director Sasikumar for his Company Productions also had its fair share of excitement on this issue but managed to hit the screens as planned. Sasikumar apart from funding the project has also donned on the role of a hero for his erstwhile assistant S R Prabhakaran who makes his directorial debut with this flick.

Sundarapandian showcases Sasikumar in a refreshing romantic role bereft of his sickle and knife wielding demeanors of his earlier films and he scores in this new avatar too. Of course, his trademark axiom about love and the chastity of friendship do appear but only when the end credits roll.

The story of Sundarapandian is rather very simple; it’s about wooing a girl in a rural milieu and its effect. A plethora of pluses makes Sundarapandian watch-worthy and there is something charming and instantly likeable about it that makes you settle into the plot comfortably early on in the film.

Sound screenplay and deft narration marks the arrival of this promising new director Prabhakaran who has not let his mentor Sasikumar down. There are enjoyable surprises throughout the film and the climax provides a volley of unexpected twists and turns, of course, with a few leeways into cinematic liberties. 

Humor is the staple of Sundarapandian which runs through even in the serious scenes, the example is when Sasikumar returns from the jail apprehensive about his folk’s reaction but gets flummoxed by an entire brood of old women clamoring around him with ‘oppari’.

Characterization is very interesting in Sundarapandian and even those that appear in the margins are strong enough to create a mark, like for example the much married ‘murai ponnu’ of Sasikumar, the Seeyan grandmom, heroine’s friend, heroine’s aunt (chitti) to name a few. Lakshmi Menon fits the role of a strong willed village belle and acquits herself with ease.

Suri emerges as the top scorer with his perfect timing and body language. He is a natural and plays it straight without resorting to any undue histrionics. Fathers of both the hero and heroine make an impressive impact with their portrayal. There is quite a big team of supporting cast in the form of Appu Kutty, Vijay Sethupathy, and many more who add value to the film through their respective performances.

The scene when Sasikumar returns from jail and his dad telling the lady members of the family to take care of him well is one that depicts the relationship between a dad-son duo. In a similar vein, when Sasikumar’s grandmom applies the holy ash on his forehead and secretly shoves a fruit in his hand for his strength when he leaves for a serious meeting with the neighboring village just goes on to show the deep bond they share.

It’s to the credit of Prabhakaran that he has the audience in his grasp for a major part of the film and his dialogues add spontaneity to the narration. He should also be lauded for delivering a clean film sans any cringeworthy scenes or dialogues. 

Ragunandan’s music is just about ordinary and the picturization of Rekkai Mulaithen is good. Cinematographer Premkumar has given what is needed for the story and his work enhances the rustic feel of the film. 

As the story travels in a bus for most part of 1^st half, there are a few dull moments but they get effaced in the totality of the film. Toting up, debut director Prabhakaran delivers a neat and enjoyable product sans any technical frills solely relying on his raconteuring skills.

Verdict: A family entertainer with ample dose of comedy