Gautaman Bhaskaran’s Review: Mundhinam Paartheney
Mundhinam Paartheney is sadly, a good theme that has not been crafted with care. Indeed, a classic case of an interesting plot spoilt by an awful narrative style.regional movies Updated: Mar 26, 2010 14:13 IST
Cast: Sanjay, Ekta, Pooja, Lizna, Sai Prashanth
Direction: Magilzh Thirumeni
Tamil cinema’s recent foray into the reality realm is a happy sign that films from this region are finally forsaking the overtly dramatic, tiresomely theatrical form. Stories are increasingly focusing on the issues of the day – both in the urban and the rural milieu. And performances tend to veer away from superficial style or exaggerated mannerism. The leading man on the screen can be the one whom you pass by in your workplace or the heroine can be as inconspicuous as the girl breezing past in her two-wheeler.
Actor Sanjay is one of those un-hero looking guys. Playing a software professional, (also) Sanjay, in the Tamil movie, Mundhinam Paartheney, he is part of a group of IT boys and girls with their peculiar anxieties and aspirations. (One guy is devastated because he is a virgin at 29.) They exist, not quite live, in claustrophobic, incestuous confines. The computer screen and the space around it become their world and they have little idea what lies beyond.
So self absorbed they are that it is not shocking to see Sanjay’s best pal, Dinesh (played with consummate ease by Sai Prashanth), meet an intensely disliked colleague in a blind, internet-facilitated date. Dinesh’s and Sanjay’s efforts to look for partners outside their group take them to a Salsa school, where teacher Arthi (Ekta) holds out promise. Despite her easy camaraderie with the techie group, Sanjay is troubled by rumours, and probably the compatibility of a matrimonial relationship with her. In a kind of rebound, he cuddles up with his office boss, Anu (Lizna), affirming the comfort factor here. Thirumeni weaves these highly limited lives of IT employees into the story.
However, the helmer falters when it comes to form. Except for Prashanth’s, performances are amateurish (a case of miscasting or poor helming or both), the script has several flaws and the director-writer’s move to attract crowds through song sequences in places like Venice and elsewhere in Europe sticks out like a sore thumb. Clearly, the dances, all imagined to boot, are mere excuses for exhibiting an array of costumes, some downright distasteful. In places, there is a complete mismatch between the wearer and the worn!
Sadly, a good theme that has not been crafted with care. Indeed, a classic case of an interesting plot spoilt by an awful narrative style.