Sillunu Oru Kaadhal

Sillunu Oru Kaadhal

A mystical jazz number reminiscent of Iruvar melodies welcomes you with its infectious charm. Soon you are transported to rural settings with Jyothika narrating her story and her fascination with love marriages, tongue-in-cheek and fun. The pace is good, and it’s not long before Surya comes in with his electrifying screen presence. The marriage song is an enjoyable fair just because of the ironical beauty of the reel and real relationship between the lead pair. The setting changes to a Six Years Hence Mumbai busy and compartmentalized but happy married life. So what’s different in this one? Wait till some nice twists and turns happen in a slickly edited screenplay.

The music is probably the best aspect of this largely entertaining fair. Rahman is back in his elements here. New York Nagaril stands tall in the framed picturisation, which covers up for its Switzerland shoot! Munbe Vaa captures the mush quotient that is reminiscent of Katre En Vaasal from Rhythm. Machikari does not impress much. Again, Surya is all over the film in terms of performance and finesse of portraying and carrying three different phases of the character. A scene that comes to the mind is when he gets fired at at work and comes back home to a waiting family. At the same time he is absolutely convincing as the young brat college romeo with a soft corner. Jyothika says a world with her eyes. And her chemistry with Surya is a treat. Bhumika complements the goings-on amicably.

The sad part however is the failure to get away with the conventional elements of chaddi-comedy, high adrenaline stunts, overtly maudlin cry-baby-cry-until-you-die sequences and the regular noisy color. There are enough product plugs in the film to save you from avoiding them. The good part is that one sees an attempt to minimize the characteristic erratic zooms, the misuse of digital technology in name of contemporization and the sleazy romantic number.

A refreshing take on an archaic triangle theme. Recommended.

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