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Treatment simply not taut



MESSAGE LOST: "Chidambarathil Oru Appasamy."

Chidambarathil Oru Appasamy
Genre: Social satire
Cast: Thankar Bachan, Pyramid Natarajan, R. Sundarrajan, Navya Nair.
Director: Thankar Bachan
Storyline: About a man too lazy to work and the travails of his family.
Bottomline: Moral without punch.

According to Ann Heim, screenplay writer, while writing the screenplay for a film one should never lose sight of the aesthetics as a whole.

Director Thankar Bachan, who has to his credit some good films like "Azhagi" and introduced director Cheran as an actor in "Solla Marandha Kadhai" has directed, produced and also written the screenplay of "Chidambarathil Oru Appasamy."

In the process he seems to have forgotten some of the main points when doing the screenplay. But his dialogue is good.

For instance, all the commercial aspects that are necessary to sustain the audience interest are exhausted in the first half leaving the second to plod on.

It is all about a man who just refuses to work. Even marriage does not do the trick.

In their efforts to change him, the family members are frustrated and finally desert him.

It is not as though Ilango (Thankar Bachan) cannot find employment. He lands a government job as teacher but does not go to school. Instead he roams around with his friends.

The first half of the films goes on and on showing his escapades. Liquor and women are part of daily routine and in order to bring him round the family makes him take up a pilgrimage to Sabarimala with the mandatory 48-day `viratham.'

Well, it works, but partly. The man now is immersed in puja throughout the day and does not care for his wife or children.

Thankar Bachan passes muster in the lead role. But it is Navya Nair as the beleaguered wife who steals the show.

Pyramid Natarajan does overact in some of the scenes but R. Sundarrajan does a perfect balancing act. Ponnambalam is the good police officer.

T. P. Gajendran and his friends partially succeed in their attempt at raising laughter. Ilaiyaraaja's music, particularly his re-recording, is noteworthy. Kannan (camera), an associate of Bharatiraaja, proves to be an asset. Satish Harsha's editing is crisp.

The film does carry an important message but it is lost for the lack of effective communication.

S. R. ASHOK KUMAR

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