Cast: Vishwa, Tanvi Vyas, Irfan, Ravi Kale and others
Music: A.J. Daniel
Direction: P.V. Prasad

Story

fter a brief hiatus, film-maker PVP of Kadhalil Vizhundhaen fame resurfaces inKollywood which is a welcome aspect. What is unwelcome is, however, the fact that
he hadn’t strained his thinking muscles in conceiving the plot of his latest venture titled Eppadi Manasukkul Vandahi which makes us wonder as to how the script entered the director’s mind (Eppadi Manasukkul Vandhadhu?)

Kaadhalil Vizhundhaen itself was compared to Kamal Haasan’s Guna and the Dhanush-starrer Kaadhal Kondein. An hour into Epppadi Manasukkul Vandhai and viewers start getting the same mood/feelings they had while watching the above-said films. This is what happens with directors hitting the bull’s eye with their debut films. They tend to remain in the same ‘mode’ and refuse to thingk differently, thereby upsetting the viewers.

Let’s now look into what the story is all about. Seenu (newcomer Vishwa) is one of those aimless wanderers you see on the park bench every day. Despite his poor background (he’s shown to be from a washerman’s family), he doesn’t dazzle in studies and is more intent on hanging out with friends. The cupid strikes him in an unexpected manner as he meets Mithra (another newcomer named Tanvi Vyas) and falls in love at the very first sight.

Invariably, Mithra is an ultra-rich girl. Will Tamil film-makers ever stay away from the idea of this poor-boy-meets-rich-girl-and-falls-in-love syndrome? As you have rightly guessed, Seenu enrolls himself as a student in the same educational institution where Mithra studies (example of model ‘screenplay’!).

Mithra shares her residential complex with another youth Shyam (Irfan) who becomes a friend of Seenu and they both form a gang with the rest of the friends. One day, out of misunderstanding, a fight breaks out between Seenu and Shyam and in the ensuing quarrel, Shyam gets killed by Seenu who gets panicky. Not knowing what to do to dispose off the corpse, he buries it in the same complex where Mithra lives.

As time passes, Mithra finally accepts Seenu’s overtures and becomes his ‘soulmate’. A cop enters the proceedings in the form of Ravi Kale and the film takes a serious turn from there onwards.

To their credit, both Vishwa and Tanvi have put in decent enough performances. Tanvi expresses her fear well in those expressive pair of eyes. Vishwa appears least like
a newcomer as he eases through his sequences. Ravi Kale infuses some degree of interest in the proceedings though enters the film at a late stage.

Daniel, the debuting music director, was working as an assistant under Harris Jayaraj. It shows in his melodies and the background score too sounds well. Forget that the film is a repeat story and you’d surely love to sit through it!