Tamanna Movie Padikathavan,

After fairly interesting sojourns with Sundar C Thalainagaram and Arjun Marudhamalai, writer-director Suraaj enters the arena, this time with Dhanush. And after a new success spell that began with Polladhavan, a Rajini film title, Dhanush comes out with another pa-in-law film name, Padikkadhavan (U/A).
The film begins on a promising note. In a family of highly educated father, sons, daughter and daughters-in-law, Raki (Dhanush), one of the sons, turns out to be the proverbial black sheep.
Struggling to complete his Class X for a few years he gives up. He’s the man Friday of the house doing odd jobs for everyone. If you decide the tale would go a full circle and the family would realise the worth of the son one day, you are mistaken.
He falls in love with college student Gayatri (Tamanna), sees to it that she reciprocates and when her dad whisks her away to Andhra Pradesh, follows her all the way … Raki’s family doesn’t come into the picture at all after the few initial scenes!

As always is the case, Gayatri is a don’s (Suman) daughter( Tamanna). Incidentally, you notice certain similarities between Villu and this Sun Pictures’ production. Besides the dads of the two heroines being villains, Padikkadhavan too opens with a couple of lines from songs of MGR films. At one point you even see the heroines of the two films donning the same kind of outfit!
Dhanush has already proved his mettle in such roles. The Padikkadhavan role too suits him well. And although his physique has improved considerably, however hard you try it isn’t easy to believe that he can take on a whole lot of thugs at the same time! Tamanna looks gorgeous, but sadly she hasn’t bothered too much about lip sync.
Vivekh’s track begins on a different note. The self-proclaimed ‘dada’ is at his best when he weeps in fear within the confines of the wash room. But when he drifts into his by-now-stale ‘comedy’ of trying to pass off as a woman, he irritates.
The three villains — Atul Kulkarni, Sayaji Shinde and Suman — are a handful. Though cantankerous, Kulkarni and Suman keep their tempers under control. Only Shinde is unnecessarily loud.
Unobtrusive but effective, A. Venkatesh’s cinematography is a plus. The lighting in the climax when Dhanush walks into Atul Kulkarni’s den is an example. Re-recording (Mani Sharma) for the fight scene that follows the above sequence makes an impact.
Suraaj’s treatment allows the story to hang loose and end abruptly. The magic of the beginning is lost when the narration begins to take an entirely different route leaving the earlier part high and dry.


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