Muthirai

Not too long that we griped about the lack of movies that keep the turnstiles busy, comes Muthirai, packed with action, sentiment, love and comedy good enough for two movies. Director Srinath knows his onions only too well and as a result, the racy story is further strewn with countless twists – some drab, but most of them surprisingly convincing fuelling the pace of the movie ensuring that there’s never a dull moment in the script.

Muthirai’s story is a tightly knotted web that unfurls during the course of the movie with the help of plot aids, significant with such fast-paced movies such as double crosses, treachery and felony.

In an ugly political feud, Anand’s brother Saravanan gets shot and Anand slips into a coma, by the power-hungry Ponvannan who is next in line for the Chief Minister position. Much to his chagrin, the killing is secretly filmed and when he learns about it, the chase for the video begins. With that begins the script to fly and with only very few stumbling blocks the movie races at the speed of light.

Daniel Balaji and Nithin Sathya are petty thieves who steal passports, credit cards and pick pockets. While Lakshmi Rai is an ill-fated girl who is tricked to marry Daniel Balaji, Manjari catches up with Nithin during his adventures at a ladies hostel. All these characters accidentally cross roads with Chetan, who owns the killer video, and drive the movie to its conclusion.

Twists, like bolts from the blue, packed in every nook and corner of the script unfold rather unexpectedly and since you are not at a loose end, it leaves no time for you to think before another one takes over like it’s a loop. Fifteen minutes into the movie, Rakhi gyrates her way into the script lip-syncing the raunchy number ‘Night is still young’ in her barely-there garb. That sets the tone of the movie and everything from then on is uphill.

Pardon the cliché, but the role does fit Daniel Balaji to a T. His killer looks (literally, that is) and the all-is-chill attitude works for the role. A satisfactorily done job is attributed to Nithin Satya. Of the ladies, Lakshmi gets more footage and scope while Manjari is confined to a few scenes and the rather tolerable Alagaana Neeyum song, in her voice. Talking of it, only the July Maadathil song speaks of Yuvan’s name and the rest of them just fade from memory as soon as the end credits roll on.

Director Srinath, Jeeva’s former Assistant, is the surprise in the whole package, who has earlier done comical roles in a few movies. His script saves the day for him and the nicely done screenplay does more than just that. It adds the required grip to the movie’s flow. The story is written by Anees Jeeva.

Saleem’s camera loses out chances in many scenes and ends up being just above mediocre. With a plot like this, the camera could just have enhanced the impact of the movie in more ways than one. Same way, despite Antony’s choppy editing attributes, the movie sustains owing to the other pluses.

Muthirai is fast and filled with oomph and all that is required to keep you on your toes over the weekend at the theatres. With the stretched-tight script, neat direction, fast men and glamorous women, Muthirai might just be the kind of entertainer you missed for a little while at the box-office.

Aayirathil Oruvan - Sound Track

Oh Eesa: Composer’s Mix

Now, why does Snoop Dogg’s Gangsta Rap piece ‘Lay Low’ cross your mind as you listen to this? Anyway, this song has a refrain that is straight out of an old CD which goes ‘Govinda hari Govinda’ and some English and Tamil lyrics. Bad articulation leaves you guessing the contents! But could catch the fancy of the young!

Maalai Neram

A song with a slight R&B touch to it, this mourns the disappearance of love from the life of a young lady. Bad articulation, again, from Andrea. Pleasant use of strings, though. We don’t get to hear anything to do with Siddhar Padalgal here! Why the mention?

Un Mela Aasadhaan

Oh dear!! This song sounds so very like ‘adadaa vaa asatthalam’ from Sarvam. Were both Yuvan and Prakash ‘inspired’ by the same source? We don’t know! Anyway, Dhanush doesn’t sound bad and the instrumental interludes and the percussions are easy on the ears.

The King Arrives

Soft, majestic music that hints of an imposing presence. How it translates on the screen is what we have to see.

Thaai Tinra Mannae

This song is a very dramatic piece as it incorporates varied musical pieces into it - a javali-like bit from Nityashree and a mournful solo bit by Vijay, and both dissolve into harmony at the end in a soft rhythmic melody. Stands out for the subtle use of percussive instruments. Though the song appears to be in Vakhulabarana raga, we have shades of Nattakurinji raga after the fourth minute when we hear some delicate mridangam and ghatam. A soft ‘thanam’ on the veena, three and a half minutes into the song, balances the crescendo notes of Vijay. ‘Kalambakam’ is pronounced wrongly. A well put together number.

Pemmane

Very powerful verses that simply jolt you-especially the phrase ‘uyir kizhindhom!’ Hats off to Jayashree and the veteran singer Srinivas for investing this number with such deep pathos. Conceived with a touch of Subapantuvarali raga, this song speaks of the agonies of forced relocation. Again a very suggestive use of drums.

Celebration of Life

This instrumental piece that starts off pensively and then breaks out into a faster tempo has a fine ‘period’ feel to it. Very thoughtful combination of instruments.

Thaai Tinra Mannae

This song has different lyrics as it is laden with heavy pathos. Vijay, as well as the flute, tabla and other instruments (do we hear the Yaazh?) combine to bring out a certain amount of wistfulness to the song. Slow paced. Vijay would do well to polish up the soft ‘la’ and the harder ‘la’ sounds and the Tamil-specific ‘zha’ sound. An impossibly long number, at over seven minutes.

Indha Paadhai

The song seems to be slightly introspective. So we have suitably subdued strings and rhythms. Doesn’t seem to hold your attention though, unless it has been shot effectively.

Oh Eesa (Club Mix)

Thankfully rather easy on the ears. Nicely paced.

Verdict:

The sleeve note includes a contest form which asks the listener ‘which six of these ten songs are likely to feature in the film?’ Happy guessing, then! Selvaraghavan seems to have taken great pains to bring in delicate authenticity to the music. And the songs seem suitably slotted into the story. Let us wait for this movie to unfold.