VASUVUM SARAVANANUM ONNA PADICHAVANGA MOVIE REVIEW

Director M Rajesh’s ideology is pretty straight forward - make his audiences laugh their lungs out and break every single rib of theirs while doing so. The magnificent reach of his ‘Nanbenda’, ‘Factu Factu Factu…’ and ‘Vetrikuri’ boast of his success and influence on his audiences. 

 

He is back on full throttle with Vasuvum Saravananum Onna Padichavanga (VSOP) and as cliched as it might sound, time holds the answer to whether “Magizhnthiru” and “Semma Kalaai” would hit the right chord among his fans. 

 

Nevertheless VSOP is a typical Rajesh entertainer, very well supported by Arya, Santhanam, Tamannaah and Vidyu. While Arya and Tamannaah make supremely energetic features, Santhanam and Vidyu fill every nook and corner of the film with quality humour. Bhanu makes a convincing appearance, though her character carries almost all kinds of stereotypes of Tamil cinema’s conventional demanding girl.

 

But the showstoppers are of course Santhanam and Vidyu Raman. Rajesh has smartly given purpose for Santhanam’s insult comedies and Arya compliments him extraordinarily. Santhanam particularly scores high in the sequence where he, Arya and Tamannaah crash into Vidyu’s home and as a wannabe hip hop artiste in the song Luck-a Matikichu. Vidyu on the other hand, with her expressive acting and well modulated dialogue deliveries, makes a strong impression in the film. 

 

Jumping to the technical team, cinematographer Nirav Shah adds a lot of vibrance to the film and his compositions in the song sequences stand witness to that statement. Jackie’s flashy sets for the songs, particularly Naa Romba Busy, compliment the cinematography well. 

 

Imman scores high with his songs, but has lesser scope for original background scores compared to his other movies. VSOP must have been a cakewalk for the National Award winner Vivek Harshan, for his cuts are precise and smooth as always. Dance choreography in the songs Sona Sona, Luck-a Matikichu and Naa Romba busy keep the audiences from going away for a quick smoke.  

 

All that said, VSOP still has a few redundancy and formulae that most comedy flicks have. The Akila chechi section could have been done away with and however entertaining the movie is on the whole, it still rides on the over-exploited love-friendship conflicts and stereotypical projection of women as the ultimate friendship slayers.

 

The songs, all of them though well choreographed are fillers at the end of the day. Couple of them could have been easily done away with. The later part of the second half does stretch. 

 

Overlook all that and you are in for some comical treat!