Enakku Vaaitha Adimaigal movie review: This Jai-starrer is a hotchpotch of cliches
The plot is not novel, the script is shoddy and, in the end, Enakku Vaaitha Adimaigal, seems like a hurriedly assembled piece of work. This Jai-Santhanam starrer is all jumbled up.
Enakku Vaaitha Adimaigal
Director: Mahendran Rajamani
Cast: Jai, Pranitha, Kaali Venkat, Naveen George Thomas, Karnunakaran, Thambi Ramaiah, Rajendran, Anjali, Santhanam
Tamil cinema despite the obsessive chauvinism with the language among politicians and even people, is fixated with using English words - and so regularly that they have begun to jar on my ears. Tamil films will invariably use ‘love’, hardly ever the Tamil equivalent, ‘kaadhal’. The heroine will tell the hero - or vice versa -- “naan unnai love panren” (I love you).
So, when Jai’s Krishna in Mahendran Rajamani’s Enakku Vaaitha Adimaigal experiences heartrending ‘love failure’, he walks into a psychiatrist’s couch and Thambi Ramaiah counsels --- in his painfully irritating voice and through his awfully exaggerated mannerisms (which remain the same in movie after movie - where he is supposed to provide comic relief) - the devastated young man to talk to his friends, and not think of committing suicide.
But Krishna’s friends - partly out of sheer jealousy that he had found a ‘good figure’ (read girl) and partly indifference that a long-time relationship tends to produce - do not take his telephone calls. So, Krishna, unable to bear the pain of having been separated from Divya (Pranitha), who has found a new boyfriend - decides to end his life, and books into a seedy hotel room, a place infested with pimps and prostitutes. However, the night wears out, and the glass of poison that Krishna places on the table in front of him, remains untouched.
In the meantime, Krishna’s friends, Ramesh (Karunakaran, who must be given better roles), Basha (Kaali Venkat) and Sowmi (Naveen George Thomas), worried about the heart-broken guy, begin a search - which lands each one of them in a different kind of trouble. One, all set to get married, gets caught, for no fault of his, in a call-girl racket. The second on a scooter gets hit by a speeding car. The third is accused of murder, although he has no clue who the victim is.
Rajamani’s tale of these four men takes me through the kind of torture that his characters experience. Except for Karunakaran ( much like Santhanam -- who makes a cameo, but a life-saving appearance in the film -- whose talent had remained under utilised for years), the other actors are unimpressive. Jai, actually the hero, does not want to let go his wooden looks, and his flat dialogue delivery adds to a viewer’s boredom.
The plot is not novel, the script is shoddy and, in the end, Enakku Vaaitha Adimaigal, seems like a hurriedly assembled piece of work. All jumbled up.
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