Kathai Thiraikathai Vasanam Iyakkam Review

Directed by R. Parthiepan
Produced by K. Chandramohan
Written by R. Parthiepan
Starring Santhosh Prathap,Akhila Kishore,Dinesh Natarajan,Lallu Prasath,Sahithya Jagannathan, Vijay Ram,Mahalakshmi ,
Music by Score: C. Sathya
Soundtrack: Various artists (see below)
Cinematography Rajarathinam
Edited by R. Sudharsan
Production company Reves Creations

Synopsis: A few youngsters try to make a script and turn it into a film. But first, they will have to hit upon a story to develop into a script…

Movie Review: Radhakrishnan Parthiban and his films can sometimes come across as oversmart, and being quirky just for the sake of being so. But in Kathai Thiraikathai Vasanam Iyakkam, this oversmartness and quirkiness lend freshness to a regular one-line plot. The film proudly wears these two elements on its sleeves and feels fresh and zany.

The film begins with four seemingly disconnected events, each one more outrageous than the other — one shows a tsunami wiping away the population, another has a musician caught in a conflict, while the last one has Brahma packing off babies to the Earth. Even as we scratch our heads, we are shown that these are all ideas part of a story discussion involving the film’s protagonists, who are trying to come up with a story for a movie.

Thamizh, the aspiring director, is idealistic and wants to come up with a story that is interesting in every scene. His associates include passionate youngsters as well as an industry veteran who has failed to make a movie for a long time. Tamizh is married and his lover-wife Daksha is “eccentric” (the film calls her so). Daksha wants to see Tamizh as a filmmaker but at the same time, she is also wary of reality of daily life. Will Tamizh and his team be able to find a story and script?

The film is basically a witty commentary on the film industry and in this, it is quite similar to the recent Jigarthanda, which was also a film on the film industry dressed up as a gangster movie. Here too, you get the veteran breaking into a monologue on the disappointment that this glamorous industry offers to those who strive to make a mark. There is also a film being made within the film, and unlike Jigarthanda, here, we are given a fair inkling of what kind of film it is.

There is a lot of Parthiban-isms in the film (in fact, every character converses in Parthiban-speak, but this doesn’t tire you out and in fact, most of them bring a smile. The director himself appears on screen quite a bit — sometimes to steer the story, sometimes to let us in on a later development and sometimes just to keep the film wacky.

The film moves forward and backward, sideways and at times even nowhere but the writing is quite good that we are always clear where it stands. Even when it is aimlessly chugging along, you feel that the movie is going somewhere. It is a proof of the confident writing that even though the stories in the film aren’t resolved the film feels complete when it ends.

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