SONNA PURIYADHU - TAMIL MOVIE REVIEW

SONNA PURIYADHU

CAST AND CREW

Production: 360 Degree Film Corp, Habib, Saandika Amarnath
Cast: Siva, Vasundhara Kashyap
Direction: Krishnan Jayaraj
Music: Yathish Mahadev
Editing: T S Suresh

Just about a month or so after the release and subsequent success of Thillu Mullu, Shiva is back to delight his fans with another of his typical comedy movies. The core team of Sonna Puriyathu, comprising director Krishnan Jayaraj, cinematographer Saravanan and music director Yathish Mahadev are new and Shiva felt happy introducing them to the industry.

Pre-release, the Sonna Puriyathu (SP) team had promised a light hearted entertainer which had no lofty intentions of delivering serious messages to society.

In SP, Shiva plays a unique dubbing artist who loathes marriage and leads a happy-go-lucky existence with his buddies. Buying a posh Volkswagen vehicle is his only motto in life for some trivial reason. But like 99% of other Indian movies, our hero has to fall in love with a girl and walk hand-in-hand with her, before the end credits roll.

Here, the romance isn’t the conventional ‘boy chases girl’ kind, but one which is kick-started by Shiva’s mother through a traditional marriage alliance.

Shiva oozes charm and makes us smile for whatever he does on screen. Such is his charisma! The scenes showing Shiva dubbing for Chinese action films along with his friend, are truly hilarious. He is in full flow in these scenes and even dubs for a little ‘monkey romance’ episode. The little references to Chennai 28 and Thamizh Padam are nice nostalgic trips down memory lane. Shiva’s ‘poker-faced’ dialog delivery style is his USP and his directors know it all too well. Also, watch out for his ‘Rosa Hai Dosa Hai’ Hindi song.

Vasundhara Kashyap has a sizable role and pulls it off pretty well. She must be hoping that SP proves to be a stepping stone for her career as a lead actress.

The actors who play the friends do a neat job with the fat young man given prominence. Sam Anderson’s cameo will surely leave you laughing. Such is his dancing prowess.

Vathsala Rajagopal as the tech-savvy Ipad toting grandmother gets a few entertaining lines while Mano Bala plays another of his quintessential roles. Meera Krishnan is another typical Tamil cinema mom who wants her son to get married at any cost. Gangai Amaran and Aarthi also do their parts in little cameos.

In all, though Sonna Puriyathu really peters out towards the end, if you are a fan of Shiva’s brand of comedy, it might just be the movie for you this weekend.

Verdict: Few gags in typical Shiva style

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BOMBAY - TAMIL SONG NOTES

MOVIE : Bombay
DIRECTOR : Maniratnam
MUSIC : A R Rahman

Song: andha arabi

Notes: s r2 g3 m1 p d2 n2 S

andha arabikkadaloaram oar azhagaik kandaenae
s s   mm g  s s s  sr  s   mm  g    s  s  sr

andhak kannith thenral aadaigalaakkak kangal kandaenae
s s    m  g    s   s   r r  s r   rs  rg rg  r  rs rg

hammaa hammaa hammaa hamma hammaa hammaa
s  s   n.ss   n.ss   s  s  s  s   s  r

ae paliththaamaraiyae un paadham kandaenae
s  m g   s   s s  sr  s  m  g    s  s  sr

un pattuth thaavani sariyach sariya meedham kandaenae
s  m  g    s   s s  r r s    r r s  g  m    g  r  grs

hammaa hammaa hammaa hamma hammaa hammaa
s  s   n.ss   n.ss   s  s  s  s   s  r

ae hammaa hammaa hammaa hamma hammaa hammaa
rg s  s   n.ss   n.ss   s  s  s  s   s  r

Stanza:

saelai oaram vandhu aalai moadhiyadhu aahaa enna  sugamoa
s  s   sn.n. n. n.  s s   sr r  r r   s s   sn.n. s s sr

pinjup ponnu onnu nenjaith theendiyadhu aahaa enna idhamoa
m  m   m  m  m m  mp p     gr   s s s   rg rg rss  ss  s

siththam kilugilukka raththam thudithudikka muththam nooru vidhamoa
s   s    s n.n.n. n. s   s    s  r r  r  r  s   s    sn.n. s s  sr

achcham naanam ada aalaik kalaindhavudan aiyoa dheyvap padhamoa
m  m    m  m   mm  mp p   g r   s  s s   rg rg rs  s   r s  sn.

hammaa hammaa hammaa hamma hammaa hammaa
s  s   n.ss   n.ss   s  s  s  s   s  r

Song: kannaalanae

Notes: s r2 g2 m1 p d1 n3 S

kannaalanae enadhu kannai naetroadu kaa...navillai
S  R  P MG  RM S   S  S   n   SR S  nSn   d p  p

en kangalaip pariththukkondu aeninnum pae...savillai
S  R  P MG   R M   S   S  S  n  SRS   nSn   d p  p

aalaana oru saedhi ariyaamalae  alaipaayum siru paedhai naanoa
d d  d  Rn  n  d   pp p  m gp   dd  d  m   r m  md d    dp p

un paerum en paerum theriyaamalae ullangal idam maarum aenoa
d  d  d   Rn n  d   p  p p  m gp  d d  m   rm   md d   d p

vaay paesavae vaayppillaiyae vali theera vazhi ennavoa
p    d  n2Sn2 d    n2SS  S   n2n2 S   R  G G   PMM M

(kannaalanae)

Stanza:

undhan kanjaadai vizhundhadhil nenjam - nenjam
P P    MG MP PM  G S   S  S    n  S     n  S

tharikettuth thalumbudhu nenjam
n  n SG S    n2 p  pn2p  mg mp

endhan maelaadai parandhadhil konjam - konjam
P P    MG MP PM  G S  S  S    n  S     n  S

pirai mugam paarththadhu konjam
n n   SRS   n2p   pn2p   mg mp

raththam kodhikodhikkum ulai kodhiththidum neerkkumizh poala
g   m    p n2 d2S   n2  n2n2 d2n2   S  G   R1   S n2   Sn2dp

siththam thudithudikkum puyal edhirththidum oar ilai poala
g   m    p  n2d2 S  n2  n2n2  d2n2   S  G   R1  Sn2  Sn2dp

paniththulidhaan enna seyyumoa moongil kaattil thee vizhumboadhu
p d   S  R G     p d  S  G P   MPD D   M   G   MG   G S   GS n2d

moongil kaadenru aayinal maadhu
d   n2  d  n2nd2 dn2dp   mg mp

Song: kuchchikkuchchi

Notes: s r2 g2 m1 p d2 n3 S

kuchchikkuchchi raakkammaa ponnuvaenum
r   g   r   g   r   s  sn. n. s sr r

koodasaali raakkammaa ponnuvaenum
r  g r  g  r   s  sn. n. s sr r

saadhisanam thoongayila saamakkoazhi koovayila
m  m  m mp  g    g g rs m  m  m  mp  g  g g rs

kuchchikkuchchi raakkammaa...koodasaali raakkammaa...
r   g   r   g   r   s  s     r  g r  g  r   s  s

Stanza:

kaattu muyalukku  pani pidikkum gaanakkuyilukku veyil pidikkum
rg3 g3 r g3g3 mg3 r s  s s  s   d.ss  d.s s  s  r g   m g  r

aa..nivaerukku  man pidikkum hae appanukkup pen pidikkum
rg3 g3rg3g3 mg3 rs  s s  s   r   r m m  p   gr  s n. s

arasan maganukku  vaal pidikkum azhudha kuzhandhaikkup paal pidikkum
rg3g3  r g3g3 mg3 rs   s s  s   d.s s   d.s   s    s   rg   m g  r

purushan jaamaththil kanaikkayilae pombalaikku gili pidikkum
r g3g3   rg3g3  mg3  r s   s s sr  r  m m   p  g r  s n. s

allum pagalumae nanaindhaalum aaththu meenukkaa kuliredukkum
n.s   n.s s gr  r s   s   sr  n.s s   n.ss  gr  r s s n. n.d.

alli alli naan koduththaalum aanandhap poovukkaa ponmaeni valikkum
n.s  n.s  gr   r s   s   sr  r m  m    m  p  p   r  g  rs s s  s

a pottappulla peththukkodu...poadhum ennai vittuvidu
m m  m  m  m  m   r   r r    p  p    p p   p  r r r

a a a pottappulla peththukkodu...poadhum ennai vittuvidu
m m m m  m  m  m  m   r   r r    p  p    p p   p  r r r

velichcham eriyavittu vekkaththai anaiththuvidu
r m   p    d1pm p  m  r  m   g    rg    r  sn.s

(kuchchikkuchchi)

Song: poovukkenna

Notes: s r2 g2 m1 p d1 n2 S

poovukkenna poottu kaatrukkenna roottu gullaa gullaa hallaa gullaa
n. s  r  g  rs  sg n.  s  r  g  rs  s  n. s   n. s   n. s   n. p.

vaanum mannum yaarukku neeyum naanum yaarukku gullaa gullaa hallaa gullaa
n. s   r  g   r  s  sr n. s   r  g   r  s  s  n. s   n. s   n. s   n. p.

(notes similar to "poovukkenna")
nee sirichchaa dheevaanaa kaikoduththaa masthaanaa gullaa gullaa hallaa gullaa
neeyum naanum onnaanaa rooppu thaeraa masthaanaa gullaa gullaa hallaa gullaa

soalaikku enna oru kavalai eppoadhum paravaigal azhuvadhillai
sg g   g  g r  rs  s s s   g gm gr   s r r  sn. n.s r r   r

sooriyanil enrum iravu illai eppoadhum sorggaththukkuth thadaiyillai
sg g g g   g r   rs s  s s   g gm gr   s   r   r   sn.  n. sr r  r

gullaa gullaa hallaa gullaa...gullaa gullaa hallaa gullaa
n. s   n. s   n. s   n. p.    n. s   n. s   n. sgs gm p

Stanza 1:

kaanaththaanae kangal kanneer sindha illai
p  m   m   g   g  m   p  m    m  g   g m

maegangal manvizhundhu kaayangal aanadhillai
s  g  g   g  m m   m   m  r  r   s r s   n.

vaazhaththaanae vaazhkkai veezhvadharku illai
S  S    S   R   S     n   p    p p   n  p m

pollaadha jaadhi madham iraivanum sollavillai...
g  p  p   p  d   d d    dm  m g   g  S S  n  G

(nee sirichchaa)

Stanza 2: (notes similar to Stanza 1)

paadaththaanae nenjam mounam enna enna
aasaikku rekkaikatti kattavizhththu aadavidu
vellaththaanae veeram kolvadharku illai
kaiyoadu kaisaerththu vaanaththaiyae thottuvidu

gullaa gullaa hallaa gullaa...gullaa gullaa hallaa gullaa

kaanaththaanae kangal kanneer sindha illai
p. p.  d.  n.  n. d.  d. d.   n. s   s n.

vaazhaththaanae vaazhkkai veezhvadharkku illai
n. n.   sr  r   rs    s   s    s r    g  gr r

paadaththaanae nenjam mounam enna enna
r  r   gm  m   mg g   g  g   m p  pmm

vellaththaanae veeram kolvadharkku illai
m  m   pd  d   dp p   p  p d    S  Snn

(nee sirichchaa)

Song: uyirae uyirae

Notes: s r2 g3 m1 p d2 n2 S

----------------------------------------------------------------------

Legend for the notes:
s  = sa    = C
r1 = ri 1  = C#
r2 = ri 2  = D
g2 = ga 2  = D#
g3 = ga 3  = E
m1 = ma 1  = F
m2 = ma 2  = F#
p  = pa    = G
d1 = da 1  = G#
d2 = da 2  = A
n2 = ni 2  = A#
n3 = ni 3  = B
S  = sa    = C [next octave; higher "sa"]
R1 ...

Notes: s r2 g3 m1 p d2 n2 S
here, r=r2, g=g3, m=m1, d=d2, n=n2 [unless specified otherwise]

----------------------------------------------------------------------

uyirae uyirae vandhu ennoadu kalandhuvidu
pp pd  pS d   p  d   n S  n  d p  p  p pmg

uyirae uyirae ennai unnoadu kalandhuvidu
pp pd  pS d   p d   n S  n  d p  p  p pmg

ninaivae ninaivae endhan nenjoadu kalandhuvidu
p p  m   p p  grs s s    r  m  m  p g  r  s s

nilavae nilavae    indha vinnoadu kalandhuvidu
p p m   m p mp grs s s   rm m  m  p g  r  s s

kaadhal  irundhaal endhan kannoadu kalandhuvidu
Sn nS SR Sn  nS nd d d    d  nS S  R n  d  p p mg

kaalam   thaduththaal ennai mannoadu kalandhuvidu
Sn nS SR S  n   nS nd d d   d  nS S  R n  d  p p

(uyirae)

Stanza 1:

en suvaasak kaatru varumpaadhai paarththu uyirthaangi naaniruppaen
m  p    S   nd1np  m p  p  p    mp    mgr mm  p    S  nd1npp  p

malarkonda penmai vaaraadhu poanaal malaimeedhu theekkulippaen
m m  p  S  nd1np  mp p  p   mp mgr  m m  p  S   nd1n p p  p

en  uyir poagum poanaalum thuyarillai pennae  adharkaagavaa paadinaen
pd1 RR   R  R   SR R  R   S  R R  R   SR Sd1p pd1  S  R M   GR R R

varum edhirkaalam un meedhu pazhipoadum pennae adharkaagaththaan vaadinaen
pd1   RR   R  R   SR R  R   S R  R  RS  RS d1p pd1  S  R   M     GR R R

mudhalaa mudivaa    adhai un kaiyil koduththuvittaen
S S  Sd  S S Sd1 pm mm    m  p  d1S d1p   m  g  gr

(uyirae)

Stanza 2: (notes similar to Stanza 1)

oar paarvai paarththae uyirthandha penmai vaaraamal poayvidumaa
oru kannil konjam valivandha poadhu maru kannum thoongidumaa
naan karumpaarai palathaandi vaeraaga vandhaen kannaalan mugam paarkkavae
en kadungaaval palathaandi kaatraaga vandhaen kannaa un kural kaetkavae
adadaa adadaa inru kanneerum thiththikkinradhae

(uyirae)

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PATTATHU YAANAI - TAMIL MOVIE REVIEW

PATTATHU YAANAI

CAST AND CREW

Production: Michael Rayappan
Cast: Vishal, Aishwarya Arjun, Santhanam
Direction: Boopathy Pandian
Music: Thaman.S
Background score: Sabesh Murali
Editing: A. L. Ramesh
Stunt choreography: Anal Arasu
Dance choreography: Raju Sundaram
Singers: Gana Bala, Haricharan, Karthik, M.M.Manasi, Rahul Nambiar, Shankar Mahadevan, Suchitra, Udit Narayan
Lyrics : Annamalai, Na.Muthukumar, Sarathy
Distribution: Global Infotainment Pvt Ltd

          Director Boopathy Pandian is known to deliver comedy based entertainers and when Santhanam comes aboard his story, it’s akin to gliding on a well practiced terrain giving the audience a fun time at the theatres. In Pattathu Yaanai (PY) produced by Michael Rayappan for Global Infotainment, Vishal joins the director after their last outing Malaikottai. Pattathu Yaanai also becomes special, for here is where, Action King Arjun’s daughter Aishwarya makes her on-screen debut.

         These days when there is Santhanam, he takes charge of the opening scenes and Pattathu Yaanai is also no exception. It is also interesting to watch the intro scene of a hero without much fanfare; Vishal just surfaces into the scene without any hype or hoopla.

          The story is as old as the hills; it is about how an ordinary person is forced into things that he may not otherwise venture and the offshoot of such event is all Pattathu Yaanai about. However, if you are that type who would expect a correlation between the title and the film, PY does not give you that till the end.

          Comedy serves its purpose however much mindless it can be. Example is the scene towards climax when John Vijay is constantly being harassed by a call from a call taxi driver and the cascading events.

          Some dialogues like “color Xerox edutha godzila maadhiri” and “ammavukku heart attack vandha kooda, doctorukku missed call koduppanga” bring the roof down.

          The story travels on a predictable turf most of the time but for a nano twist just before the interval block. In other places, it is quite evident that the screen play wanders around in many directions. The biggest drawbacks of PY are the cliched flashback sequences and over the top villains.

          Vishal has sincerely delivered what is expected from him. If you were to expect Vishal to showcase his six pack abs, you would be disappointed but the twist in the tale comes from the villain who removes his shirt to flaunt his chiseled torso. Action scenes though well choreographed, offers nothing new. More you see Vishal, more you would realize that here is one talented action hero who has not been fully utilized by directors till date.

          Aishwarya Arjun looks emaciated but fits into her docile role. Pattathu Yaanai is an apt vehicle for the debutante and there is not much for her to demonstrate in the department of histrionics. There is a big line-up of supporting cast in the name of John Vijay, Murali Sharma, Seetha, Patti Mandram Raja, Mayilsamy, Jagan and many more. Of the list, John Vijay shines through his unique voice modulation and body language.

          Santhanam rules in the first half but is missing in action in 2nd half. The actor has improvised on his dialogue delivery and body language as the son of ‘Poongavanam’ in PY and has worked out well. For a change, there are no double innuendoes and women-teasing dialogues from him. His hairstyle is also different in PY. Usually, in Santhanam’s movies, it is he who would take others for a ride but in PY, he is at the receiving end most of the time. In fact, in second half, the villains also double up as comedians and fill up the void left by Santhanam.

          Thaman’s music satisfies the requisites of the film. ‘Enna Oru Enna Oru Azhagiyada’ and ‘Twenty-Twenty’ are good listens. Other tracks are just about ordinary.

          Pattathu Yaanai would appeal to audience who would just want to come to watch a film without expecting much. In short the film does not promise much and hence does not disappoint much too.
Verdict: Santhanam saves one more movie !

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Rosalind Franklin - Biography

Rosalind Franklin

Synopsis

            Born in 1920 in London, Rosalind Franklin earned a Ph.D. in physical chemistry from Cambridge University. She learned crystallography and X-ray diffraction, techniques that she applied to DNA fibers. One of her photographs provided key insights into DNA structure. Other scientists used it as the basis for their DNA model and took credit for the discovery. Franklin died of ovarian cancer in 1958, at age 37.

            British chemist Rosalind Elsie Franklin was born into an affluent and influential Jewish family on July 25, 1920, in Notting Hill, London, England. She displayed exceptional intelligence from early childhood, knowing from the age of 15 that she wanted to be a scientist. She received her education at several schools, including North London Collegiate School, where she excelled in science, among other things.

             Rosalind Franklin enrolled at Newnham College, Cambridge, in 1938 and studied chemistry. In 1941, she was awarded Second Class Honors in her finals, which, at that time, was accepted as a bachelor's degree in the qualifications for employment. She went on to work as an assistant research officer at the British Coal Utilisation Research Association, where she studied the porosity of coal—work that was the basis of her 1945 Ph.D. thesis "The physical chemistry of solid organic colloids with special reference to coal."

             In the fall of 1946, Franklin was appointed at the Laboratoire Central des Services Chimiques de l'Etat in Paris, where she worked with crystallographer Jacques Mering. He taught her X-ray diffraction, which would largely play into her discovery of "the secret of life"—the structure of DNA. In addition, Franklin pioneered the use of X-rays to create images of crystalized solids in analyzing complex, unorganized matter, not just single crystals.

Scientific Discoveries and Credit Controversy

            In January 1951, Franklin began working as a research associate at the King's College London in the biophysics unit, where director John Randall used her expertise and X-ray diffraction techniques (mostly of proteins and lipids in solution) on DNA fibers. Studying DNA structure with X-ray diffraction, Franklin and her student Raymond Gosling made an amazing discovery: They took pictures of DNA and discovered that there were two forms of it, a dry "A" form and a wet "B" form. One of their X-ray diffraction pictures of the "B" form of DNA, known as Photograph 51, became famous as critical evidence in identifying the structure of DNA. The photo was acquired through 100 hours of X-ray exposure from a machine Franklin herself had refined.
           
            John Desmond Bernal, one of the United Kingdom’s most well-known and controversial scientists and a pioneer in X-ray crystallography, spoke highly of Franklin around the time of her death in 1958. "As a scientist Miss Franklin was distinguished by extreme clarity and perfection in everything she undertook," he said. "Her photographs were among the most beautiful X-ray photographs of any substance ever taken. Their excellence was the fruit of extreme care in preparation and mounting of the specimens as well as in the taking of the photographs."
         
            Despite her cautious and diligent work ethic, Franklin had a personality conflict with colleague Maurice Wilkins, one that would end up costing her greatly. In January 1953, Wilkins changed the course of DNA history by disclosing without Franklin's permission or knowledge her Photo 51 to competing scientist James Watson, who was working on his own DNA model with Francis Crick at Cambridge.
 Upon seeing the photograph, Watson said,"My jaw fell open and my pulse began to race," according to author Brenda Maddox, who in 2002 wrote a book about Franklin titled Rosalind Franklin: The Dark Lady of DNA.

           The two scientists did in fact use what they saw in Photo 51 as the basis for their famous model of DNA, which they published on March 7, 1953, and for which they received a Nobel Prize in 1962. Crick and Watson were also able to take most of the credit for the finding: When publishing their model in Nature magazine in April 1953, they included a footnote acknowledging that they were "stimulated by a general knowledge" of Franklin's and Wilkins' unpublished contribution, when in fact, much of their work was rooted in Franklin's photo and findings. Randall and the Cambridge laboratory director came to an agreement, and both Wilkins' and Franklin's articles were published second and third in the same issue of Nature. Still, it appeared that their articles were merely supporting Crick and Watson's.
           
            According to Maddox, Franklin didn't know that these men based their Nature article on her research, and she didn't complain either, likely as a result of her upbringing. Franklin "didn't do anything that would invite criticism … [that was] bred into her," Maddox was quoted as saying in an October 2002 NPR interview.

            Franklin left King's College in March 1953 and relocated to Birkbeck College, where she studied the structure of the tobacco mosaic virus and the structure of RNA. Because Randall let Franklin leave on the condition that she would not work on DNA, she turned her attention back to studies of coal. In five years, Franklin published 17 papers on viruses, and her group laid the foundations for structural virology.

Illness and Death

              In the fall of 1956, Franklin discovered that she had ovarian cancer. She continued working throughout the following two years, despite having three operations and experimental chemotherapy. She experienced a 10-month remission and worked up until several weeks before her death on April 16, 1958, at the age of 37.

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MARIYAAN - Tamil Movie Review

 MARIYAAN

DIRECTOR : Bharathbala 

  From shouldering the huge burden of hype and hoopla, Dhanush the actor has broken free from the stage of ROUTINE to an unfazed zone of acting. Mariyan strikes the unique balance of cinematic experience with everything you can dream of. In the hour of test and faith, Love prevails and gets the man ashore swaying all odds. Dhanush, the National awardee comes out with yet an award winning performance, so memorable you would forget to finish off the popcorn. What more could we expect from a team of zealous technicians who have come together to present a movie of a lifetime. However let's put on our magnifying glasses and review this movie.

  Dhanush has come a long way from the days of KadhalKondein, which was one of the firsts to showcase his talents in acting, and this movie pitches agony and love together, unleashing the unexpected. As a fisherman from the suburbs of Tamil Nadu, carefree but full of energy he is taunted by a girl sparkling with love for long. The film starts off in Sudan, Africa where Mariyan (Dhanush) is seen working for a contractor and after some rigorous 2 years of work, he is upbeat about getting back to home, sea, food and his soul mate Panimalar (Parvati). Dhanush and Parvati ooze the chemistry of love and separation in the first scene itself, a beautiful spring that showcases the excitement of meeting each other after a while.

  Instantly we are sent in a Flashback, where Mariyan is the nomad fisherman who is always happy-go-lucky and keeps smudging off Parvati, who is in her umpteenth attempt to lure Mariyan with Appukuty's help. The beautiful seashore, the people who flock around, love in the air, BB makes you literally smell the aroma of sea. The first half is a visual treat to watch and feel how the love of Mariyan-Pani evolves amidst the sweetness of the waves and fishes. The screenplay evolves lazily and the director takes plenty of time in the love segment, to an extent where it makes you wait for the intermission.

  Now that our patience was put to tremendous test, he justifies it through the second half where Mariyan is now held captive along with two other prisoners. In the middle of nowhere the prisoners are held at gunpoint by African terrorists who demand money to the company that handles them. From then on the movie almost transforms into a web of struggle and pain that Mariyan faces. Under traumatic circumstances, Mariyan encounters myriad images of Panimalar and takes that as a sense of inspiration to come out of his misery, and that does not come at ease. All said the torture and violence from the terrorists makes you wonder why? Their characters are not etched in a reasonable way, and BB could've given more insight on their drive towards cruelty.

  The movie itself is split in two milieus, one with a fisherman's routine life and love and the other is how much Love can catapult an individual to take the extra mile. In the middle of so many movies lately that end on a negative note, yet hit the BO, Bharat Bala has carved a niche among a positive tale tellers and has given a movie that you can take back home on a high note. The standard he has set is so breathtakingly high, that makes us wonder what next. To ponder hard and point the negativity, it should be the lethargic screenplay in the first half, as BB has taken a lot of time to tromp their love home.

  Rahman is one word "Awesome", be it the BGM or the songs, they sizzle throughout. In the scenes that follow the struggle of Mariyan it inspires and motivates perennially. For the underwater scenes, Rahman's ripple effect on the waters magnify with Auro 3D crystal clearly, that its realism demystified. And Marc the French Cinematographer! Boy what can we say about him! The rusty deserts, serene oceans, the fishy tale, enigmatic love and infinite range of visual awesomeness sum up his work. For the African part of the movie he has used mild and varied color tone.A bunch of Kudos to editing work by Vivek.

  Acting wise, no little or lengthy words to explain the magnificence of Dhanush, he can go up with heads high of the fact that, he is no more an ordinary actor down the lane and more is left in that lean body. Parvati as Panimalar is sure to create a crater size impact on Indian Cinema, her eyes twinkle and do most of the talking, but that doesn't stop the actress, her chemistry with Dhanush is one of the best in Tamil Cinema. Rest of the cast Appukuty, Uma Riaz, Jagan, African cast all live up to their expectations as well.

Verdict : 3.5/5
Ergo, a fine movie not just to watch and enjoy, but to feel and relish.

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DUM DUM DUM - TAMIL SONG NOTES

DUM DUM DUM

DIRECTOR : Azhagam Perumal
MUSIC : Karthik Raja
YEAR : 2001
           

Song : Dhesingu raja

            Dhesingu raja, Dhesingu raja,
            sr r  s  rm g  rs r  s  n2.p.
            CD D  C  DF D# DC D  C  A#.G.

            Thiru thiru thirunnu mulippadhu yaen?
            s  r  r  s  r  m  g  r s  r s   n2.
            C  D  D  C  D  F  D# D C  D C   A#.

            Thanjavur rani, Thanjavur rani,
            Kuru kuru kurunru paarpadhu yaen?


             Poovaa thalaiyaa pottu   paarthaal,
             sp p   p  d  pm  Sp d    p   p
             CG G   G  G# GF  C+G G#  G   G

             Poovonru vilunthathu thalaiyilae,
             sp p  p  p d  p  m   p  d  n np
             CG G  G  G G# G  F   G  G# B BG

             Kaaya palama kaettu paarthaal,
             Kaayenru kaninjadhu kanavillae,


             Ini onnum    onnum onna   saerndhu,
             pp  S SR     n nS  d dn   p    pm
             GG  C+ C+D+  B BC+ G# G#B G    GF

             Moonaa aayidum,
             gm p   rgr grs
             D#F G  DD#D D#DC

             CHORUS 1

       (Instrumental / Female Vocalizing)

          Nenjukullae nenjukullae, ohh...
          p  p p  p   n2 n2n2 n2d  dn2 dn2
          G  G G  G   A# A#A# A#G# G#A# G#A#

          Nenapukku alavillai,
          p p p  p  n2n2n2n2Sn2d
          G G G  G  A#A#A#A#C+A#G#

          Kannukullae kannukullae, ohh...
          Kanavukku vilai illai!

          Yen manadhil pai marangal viriyum,
          p   R R R    R   R R  S   n S R
          G   D+ D+ D+ D+  D+ D+ C+ B C+ D+

          Indha kappal enthisai adaiyum,
          Yen idhayam mummadangu thudikkum,
          Unn manadhin paaram enni karakkum,

          Vinaa  kaettaen vidai varumaa thanaai,
          R G    S   R    n S   d2  n2  d  d2
          D+ D#+ C+  D+   B C+  A   A#  G# A

                 (Instrumental)

            Adupuli aatathilae, ohh...
            Odum puli kattathilae,
            Ottaipaanai thittathilae, ohh...
            Valiyudhae koottathilae!
            Yen idhayam rayilum seyyum kalagam,
            Adhu iruppu padhai vittu vilagum,
            Thalaigalai thirumbiyidum, sariyaa?
            Thirisingu sorkka nilai idhudhaanaa?
            Vinaa kaettaen vidai varumaa thanaai,

                (Brief Instrumental)

            Dhesingu raja, Dhesingu raja,
            Hey...chinna ponnu sirichaa natchathiram parichaa,
            Nichyathai mudichaa maelam kottanum,
            Sandaikkayae ettana sumaikulli pathana,
            Ponna naanga kattuna nagai tharanum,
            Summa aadathae soliyan kudumi,
            Ethana puvan venum vaangikka,
            Kulla pothadhae mappilai murukku,
            Jillavulla paathithaan pirikkannum,
            Ini onnum ondrum onna saerndhu,
            Moonaa aayidum,
             (DHESINGA RAJA)

Song : Ragasiyamaai

Notes: s r1 g3 p d2 n2 S

ragasiyamaai ragasiyamaai punnagaithaal porul ennavo
s s s d.d.r  s s s d.d.r  s  s sd.d.r p gpg   g r rs
C C C A.A.C# C C C A.A.C# C  C CA.A.C#G EGE   E C# C#C

adhisayamaai avasaramaai mozhi tholaindhaal porul ennavo
ss  s d.d.r  ss s d.d.r  s s   s  d.  d.r p gpg   g r rs
CC  C A.A.C# CC C A.A.C# C C   C  A.  A.C#G EGE   E C# C#C

solla thudikkum vaarthai kirangum
g  p  d  d  d   dp  g    p p  d
E  G  A  A  A   AG  E    G G  A

thondai kuzhiyil oosi irangum
g   p   d d  d   dpg  pp  d
E   G   A A  A   AGE  GG  A

ilai vadivil idhayam irukkum
gp   d d d   dp  g   pp  d
EG   A A A   AG  E   GG  A

malai vadivil    adhuvum kanakkum
d n   S R S      nd  n   S S  S
A A#  C+ C#+ C+ A#A  A#  C+C+ C+

siriththa sirippu siraiyilae
S S   S   S n  d  p d  n S
C+ C+ C+  C+ A#A  G A  A# C+

sikkikkolla adam pidikkum oh  ho
g  S  n  d  pg   r r  s   n.  s
E  C+ A# A  GE   C#C# C   A#. C

(ragasiyamaai)

Stanza 1:

nilam neer kaatrilae minsaarangal piranthidum
g g   gp   p  p  p   g  g  g  p   d p  n  dp
E E   EG   G  G  G   E  E  E  G   A G  A# AG

kaadhal tharum minsaaramo prabanchaththai kadanthidum
g  g    g  p   p  p  p p  g  g  g    p    d p  n  dp
E  E    E  G   G  G  G G  E  E  E    G    A G  A# AG

nijamaai nee ennai theendinaal
d.n.s    s   s s   s    s s
A.A#.C   C   C C   C    C C

nijamaai nee ennai  theendinaal  paniyaai kaniyaai uraigiraen
d.n.s    s   s s    rsn. n.n.    d.n.s    n.s r    gr  p grs
A.A#.C   C   C C   C#CA#. A#.A#. A.A#.C   A#.CC#   EC# G EC#C

oliyaai nee ennai theendinaal  nuraiyaai unn..ul  karaigiraen
d.n.s   s   s s   rsn. n.n.    d.n. s    n.s  r   g r  p grs
A.A#.C  C   C C  C#CA#. A#.A#. A.A#. C   A#.C C#  E C# G EC#C

tharaadhathaaley ennul thaane vandha ularalgal thaano  (?)
gp gp dp g   g   p g   r   r  gr s   ss n. d.  n.s n.s
EG EG AG E   E   G E   C#  C# EC# C  CC A#. A. A#.C A#.C


Stanza 2: (notes similar to Stanza 1)

velli tharai poalavey ennidhayam irunthadhu
mella vandhu un viral kadhai ondrai ezhudhuthu

oru naal kaadhal en vaasalil
oru naal kaadhal en vaasalil varavaa varavaa kaettadhu
maru naal kaadhal en veettukku adimai saasanam meettudhu

adhuvo adhu idhuvo idhu edhuvo adhuvey naam ariyaomey

(ragasiyamaai)

Song : Sutrum bhoomi

Notes: s r2 g2 m1 p d2 n2 S

athiri bathiri chaalu naan kathiri kathiri koalu
rg  r  r s  s  s   sp p    pnp  n  pnp  m  gr g
DD# D  D C  C  C   CG G    GA#G A# GA#G F  D#D D#

endhiri endhiri vaalu naan mundhiri mundhiri chaalu
r g  r  r s  s  s  sp p    pn p  n  pn p  m  gr  g
D D# D  D C  C  C  CG G    GA# G A# GA# G F  D#D D#

thillaalangadi thillaalangadi
r   gr r  s s  r   gr r  s s
D   D#D D C C  D   D#D D C C

sutrum bhoomi sutrum adhan sakkaram thaeindhu vidaathey
r gr   r   s  s sp   pp    pn p n   pn    p   m gr g
D D#D  D   C  C CG   GG    GA# G A# GA#   G   F D#D D#

pattam parakkum kayiru oru vaanavil aahi vidaathey
r  gr  r s  s   s s sp pp  pn p n   pnp  m gr g
D  D#D D C  C   C C CG GG  GA# G A# GA#G F D#D D#

sattai paiyil ulagam kaikkuttaiye vaanam
p  pS  S  S   n3n3S  p   p  n  n  d  n
G  GC+ C+ C+  BB  C+ G   G  A# A# A  A#

kattalai ittadhum kaetkum
p  p S   S S S    n3  S
G  G C+  C+ C+ C+ B  C+

ye thennai marame thennai marame
S  n3S n3p p p p  dn  dm  m m m
C+ BC+ BG  G G G  AA# AF  F F F

udambil valayalgal yaeno
pp  d1  p p p  p   mp mp
GG  G#  G G G  G   FG FG

thirumanam unakku thaano
p  p d1p   pp  p  mp  mp
G  G G#G   GG  G  FG  FG

athiri bathiri athiri bathiri (2)
rg  r  r s  s  rg  r  r s  s
DD# D  D C  C  DD# D  D C  C


thirithiri bommaik kaari naan thillaalangadi   mulla
r  r g  r  r  s    s  sp p    pn  pn pn p m    gr g
D  D D# D  D  C    C  CG G    GA# GA# GA# G F  D#D D#

seedhaarathai paarthaa idhu thanga theevu illa
r  gr  r s    s   sp   pp   pn  pn pn  pm grg
D  D#D D C    C   CG   GG   GA# GA#GA# GF D#DD#


parakkum pattaam poochi parakkum
p p  p   m  m    m  m   m m  m
G G  G   F  F    F  F   F F  F

vinnil illai kattanam
p  p   m m   m  m m
G  G   F F   F  F F

padhiyam pathaayathil padhiyam padaraathey
p p  p   n p   p m    g r  s   m p mg mgs
G G  G   A#G   G F    D#D  C   F G FD# FD#C

andhiri petti arai poale
p p  p  p  m  mm   m  m
G G  G  G  F  FF   F  F

nenjukkul araigal vechirukkaen
p  p  p   pm  m   m m  m  m
G  G  G   GF  F   F F  F  F

aasaigal adhile olichirukkaen alai alaiyaai
p p  p   np  p  pm g  r  s    ss   gg  r
G G  G   A#G G  GF D# D  C    CC   D#D#D

neruppin kaal maeley      thaan
p p  pS  n    nS nSn      pm
G G  GC+ A#   A#C+ A#C+A# GF

neerin kaal keezhey
p  pS  n    nS nS
G  GC+ A#   A#C+ A#C+

en kaalgal maelaa         keezhaa
p  pS  n   n  nSGnS       Sn pm
G  GC+ A#  A# A#C+D#+A#C+ C+A# GF

evar solvaar ingey
pp   pS n    nS nS
GG   GC+ A#  A#C+ A#C+

(sutrum)

kaalai naalu manikku paduppaa
udaney anju manikku muzhippaa
adadaa aaru thadavai kulippaa yezhu ettu peruvaa
akka purushan arai purushan
chakkalathi naanum irukkaen
sokka mattum neeyum thovaippey poaga venum
paavam thaan un maaman
vaayaale koduppaan (?)
pagal iravu paarkkaame
pakkathil iruppaan

(sutrum)

Song: Un paerai sonnaale

Notes: s r2 g3 m1 p d2 n3 S

                MALE:
                MALE CHORUS 1:
                Un pearai sonnalae,
                g  g  g   g  p gr
                E  E  E   E  G ED

                Ulnaakil thithikomae,
                r r  r   r  s  g r
                D D  D   D  C  E D

                Pogaathae pogaathae,
                d.d. d.   d.g r d.
                A.A. A.   A.E D A.

                Unnodu sendraalae, (repeat last 3 lines)
                Valiyellaam poopookomae,
                Varaayoe varaayoe,


                (Brief Instrumental)
                MALE CHORUS 1


                MALE CHORUS 2:
                Ondraa  irandaa,
                d1d d1d pp  pg
                G#A G#A GG  GE

                Oru kodi nyaabagam,
                d1d S d  d1  d pg
                G#A C+ A G#  A GE

                Uyir thinna paarkuthae, kannae,
                d1d  d1  d  p   p pg    r  pg
                G#A  G#  A  G   G GE    D  GE

                Thundai thundai, (repeat last 3 lines)
                Bhoomiyil vilunthaen,
                Enga nee yen kannae?


             BACKGROUND:
              Chitaara chitaara chithaa,
              Chitaara chitaara chithaa,
              Chitaara chitaara chithaa,
              Chitaara chitaara chithaa,


              MALE:
                Meyeluthum maranthan,
                p p d g    p p  p
                G G A E    G G  G

                Uyireluthum maranthaen,
                p  p d g    p p  p
                G  G A E    G G  G

                Umaiyai naanum aaginaen,
                pd SS   n  dp  g d p
                GA C+C+ B  AG  E A G

                Kaiyasudum endraalum, (repeat last 3 lines)
                Theeyai thodum pillaipole,
                Unnaiyae meendum ninaikkiraen,

                Ohoh ohohoh
                pdpd pdSdpd
                GAGA GAC+AGA

                Ohoh ohohoh
                pdpd pdSdpd
                GAGA GAC+AGA

                (Kaiyasudum ...)

               Aadinaen adiyaai,
               g g r    sr rd.
               E E D    CD DA.

               Maelam pole manathaal,
               g  g   r    s r rd.
               E  E   D    C D DA.

               Uyir vaero? Udal vaero?
               p.p. d. d.s p.p. d.sd.
               G.G. A. A.C G.G. A.CA.

               Vidhiyaa? Vidaiyaa?(repeat last 3 lines)
               Chedi mael idiyaa?
               Sellaathae sellaathae,

                (Instrumental)

                FEMALE:
                FEMALE CHORUS 1:
                Un pearai sonnalae,
                Ulnaakil thithikomae,
                Nee engae nee engae?
                Unnodu sendralae,
                Valiyellaam poopookomae,
                Nee engae nee engae?

                FEMALE CHORUS 2:
                Ondraa irandaa,
                Oru kodi nyaabagam,
                Uyir thinna paarkuthae, nanbaa,
                Thundai thundai,
                Bhoomiyil vilunthaen,
                Enga nee yen nanbaa?

               (Brief Instrumental)

              Ninaivillai enbaayaa?
              Nijamillai enbaayaa?
              Nee aena solvaay anbae?
              Uyir tholan enbaayaa?
              Valipokan enbaayaa?
              Vidai aena solvaay anbae?

                MALE / FEMALE:
                Ohohoh oh ohohoh,
                Ohohoh oh ohohoh,


               FEMALE:
               Uyir tholan enbaayaa?
               Valipokan enbaayaa?
               Vidai aena solvaay anbae?
               Saanjaadum suyianae,
               Chandranai alavaithaay,
               Sogam yaen, solvaayaa?
               Senthaalam poovukkul,
               Kuyilondrai alavaithaal,
               Aenaagum, solvaayaa?

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SINGAM 2 - Tamil Movie Review

SINGAM 2

Production: S. Lakshman Kumar 

Cast: Anushka, Hansika, Santhanam, Suriya, Vivek
Direction: Hari
Music: Devi Sri Prasad
Cinematography: Priyan
Dialogues: Hari
Editing: T.S Jai, V. T. Vijayan
Stunt choreography: Anal Arasu, Rocky Rajesh
Dance choreography: Baba Baskar, Raju Sundaram, Robert
Singers: Baba Sehgal, DSP, Hariharan, Kannukulle, Shankar Mahadevan, Sharmila, Shwetha Mohan
Lyrics : Viveka



  Hari’s Singam was about an honest small town police officer who is an embodiment of all virtues and values. He loved his Khaki more than anything else. And he operated within the indigenous shores to nab criminals and weeded out unwanted elements of society and to a large extent he remained a local domicile. In Hari’s Singam 2, the honest cop expands his horizons to bring peace to his place.

  From the word go, Singam 2 clearly establishes that it’s fulcrum is only action and the quantity of romance, sentiment and comedy that occupied equal proportion in Singam is less here. The film opens up with an item number of Anjali with a vigilant Suriya who also keeps her company in waltz but conveys to the audience that he is a man on a different mission.

  Director Hari adheres to all his usual ingredients from music to method of action scenes to the cavalcade of four wheelers to the structuring of sequences. He is known to string the various elements of commercial cinema viz. romance, action, sentiment and music in an entertaining fashion and he does the same in Singam 2 too with a racier screenplay that gives a lot of scope for action.

  Suriya shoulders the film big time. The sincerity and dedication of this artist is something that needs to be lauded. Suriya with his dialogue delivery, eye expressions, body language and live energy has redefined screen presence! What a show! The biggest challenge of doing an action packed ‘mass’ role is not to over do it, as its a very delicate thin line to cross. Suriya in Singam 2 pulls it off with consummate ease.

  The actor brings in a majestic and a respectable color to the police attire and his dexterity over action sequences is remarkable. Dialogues like “appa amma solra pechai kekkaama vera yaar pechai keppanga” when mouthed by Suriya brings out the earnestness of the statement. The efforts the actor has put in to his dancing is also visible with the ‘Singam dance’.

  The rain fight in front of Suriya’s house, revved up by DSP’s RR, Suriya taking charge as Deputy Superintendent of Police, Thoothukudi and Suriya making the first arrest of Danny are all power packed sequences.

  Hansika is effective and her role is meaningful and integral to the plot. Anushka is charming and has screen space in the second half. Santhanam is an enjoyable addition to Singam 2 and his sequences livens up the proceedings be it in the Arabian Kudirai episode, the Viswaroopam Kamal sequence or the Kadhal Vandhale scene. He makes us ask for more of him in the film.

  There is a long list of ensemble in Singam 2. Mukesh Hari and Rahman as the key antagonists supported by Naan Kadavul Rajendran deliver neatly. Danny Sapani, the London based artist as the international drug dealer is fearsome initially but tapers down towards the end. Sankarabaranam Vishwanath also makes a cameo.

  Music director Devi Sri Prasad soothes the audience with a melodious ‘Puriyavillai’ number. Rest of the tracks sound like an extension of the earlier enterprise. Kannukkule number suffers from wrong placement. Cinematographer Priyan neatly captures the Tuticorin and the South African soils and the car chase sequence in Durban has been done well. V.T Vijayan and Jay, the editor duo have worked in tandem with Hari to keep the proceedings pacy.

  The predictable nature of the plot and the climax could well be the downers of this otherwise well packed action entertainer.

  To sum it all, with Hari’s racy screenplay and Suriya’s terrific screen personality, Singam 2 strikes big time. Mass masala guaranteed !

Verdict: Watch it for Suriya. Screen presence redefined !

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