SILLUNU ORU SANDHIPPU MOVIE REVIEW

Valentine’s Day is not only much awaited by lovers of love all over, but also by moviephiles who are keen to spend their day watching films on the most catholic of emotions in the world.  When the title of the film is also romantically and lyrically inclined, such as Sillunnu Oru Sandhippu, there is fair amount of expectation as to what the film has in store for the audience. Produced by Nandhagopal and directed by Ravi Lallin, the film has Vemal (that’s how he spells his name), Dipa Shah of Yudham Sei fame and Oviya.

“It is only some kind of physical attraction or a crush that one encounters in their teens or school years which is very normal but it is not love. Hence one should not take these emotions seriously”. This is the main theme of the movie that Ravi Lallin has focused for his debut film. He has attempted to convey this through three main characters, Vemal, Oviya and Dipa Shah. But sadly the execution leaves a lot to be desired and the outcome falls flat.

The theme might be topical especially when we have so many ‘love’ cases all around us but the director dilutes the effect with too many messages and sermons throughout the film with almost all the characters mouthing some piece of philosophical thoughts in the film. What go against the film are its disjointed episodes that do not contribute to the flow of the film and its retro characterization.

The director appears to have been caught in some kind of time wrap as regards women power which is clear in his characterization of Dipa Shah who is shown as an embodiment of all things Tamil ‘culture’ is and one who shudders at the thought of her fiancé’s harmless past. Even if you are able to forgive the director’s opinions, he lets you down further by displaying no flair for narrative structure or characterization.  

SOS is also filled with crass and cringe worthy innuendoes related to coffee and gun. Added to that, a lady by name Kudirai on a cleavage showing mission shot in all unnecessary angles. These would be sure appeasers for front benchers but certainly in poor taste. Mano Bala tries to be funny but not always. The need for Mano Bala to appear in double roles and especially his scene with a white lady is questionable. Same thing holds good about Charu Hassan’s divorce at the evening of his life and his party for the same and the sermon on it. It is apparent that the director wanted to convey some thought on life and relationship but his inadequacy is clearly apparent.      

It would be ideal if Vemal restricts himself to rural or semi-urban characters as his uneasiness in anything other than this genre is much evident in SOS. And to accept him as an 11^th standard student, requires a lot of imagination on the part of the audience. Dipa Shah is adequate and cannot be blamed if her character is not written well. Most of the times, she comes with a serious countenance that her love tracks contribute to unintentional laughter.  Oviya’s role appears more like a cameo. 

There is not much depth in the love between Vemal and Dipa Shah as they appear to have decided to be in love just at the drop of a hat. The school segments are very shoddily written and gives the feel that all the students come to school for a sole purpose of finding a mate. And the teacher is a caricature.

There are songs that pop up for no reason or rhyme and none of it has the potency to linger. Camera captures Ooty in the best way possible.

Sillunnu Oru Sandhippu- the lyrical feel is just with the title and not with the content as there is nothing ‘cool’ about the film.