Enakku Vaaitha Adimaigal
Enakku Vaaitha Adimaigal : Unwarranted Misogyny and a Sinking Plot
Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)
Tamil Cinema has ushered in a new wave of directors, individuals who regardless of the films they make, leave sexism out of it. Whether it’s Karthik Subbaraj or Alphonse Putharen, there is a sense of relief when misogyny is left out of their brand of humor.
However, just when you think that sexist jokes have been done away with, in steps Mahendran Rajamani with Enakku Vaaitha Adimaigal. As the opening credits roll, a song about friendship plays, showcasing a visual montage of inseparable friends from all walks of life. The whole thing is later misconstrued when a comparison between holy friendship and unholy love is drawn. One would think that we’ve heard enough of ’your girlfriend will leave you but we won’t’ references, but according to this debut director, apparently not.
A group of four inseparable friends faces torment when one of them gets cheated on by his girlfriend. Add to this nasty heartbreak some mindless comedy, chauvinistic remarks and an overuse of the five plot points and you have yourself a dull and unfunny Enakku Vaaitha Adimaigal.
Ever since he played a self-pitying young man in Raja Rani, all Jai seems to do on-screen these days is weep relentlessly. His whining outdoes his charm and sitting through his endless weeping is quite a challenge. To make matters worse, Pranitha’s acting falls flat. Her half-hearted smiles are made worse by the fact that she seems to be running out of expressions.
Karunakaran, Kali Venkat and Naveen are good actors who unfortunately have chosen to be part of a story that cannot be saved by their spontaneity and humor.
The shots of lush green valleys and grass-wreathed mountains cannot justify cinematographer Mahesh Muthuswami’s blurry visuals and inconsistent lighting. The music does not contribute much to the plot and the editing fails to leave an impression as a result of its lack of sharp cuts.
From comparing women to second-hand cars to inappropriately soothing the bruised male ego, Mahendran Rajamani leaves no chauvinistic reference unturned. His lack of tact or creativity in executing an entertaining screenplay is there for all to see. In a last gasp attempt to save a sinking plot, he introduces new characters just before the climax to fill the void that is created gradually during the film. Actors Anjali and Santhanam are clearly included purely for the sake of engaging cuts in television promos.
Just when the film is about to run its course, director Mahendran introduces a murder, an accident, and a scandal to induce interest. Instead of achieving this, he ends up overwhelming the audience.
Is there any way in which Enakku Vaaitha Adimaigal could have been better? Not unless there is another captain to save this sinking ship.