![]() ![]() There is a cheeky Vivek reference to the actor’s salt-and-pepper hair style, and in another scene, Ajith’s famous car driving skills come to the fore, as he spins his car round and round, kicking up a dust storm. He knows he is directing Ajith, and he is pulling no punches. ![]() Despite this, the first half of the film is gloriously entertaining, thanks to the director beautifully playing to the gallery. Yennai Arindhaal ’s use of this plot device again was frustrating. If I found myself getting a little irked when the director repeated his heroine-getting-caught-in-the-crossfire trope in This itch, of course, gets him into trouble, and if you have seen at least one GVM cop film, you know that the family of a cop is in perennial danger. This is, as he calls it in an exchange with his friend-turned-foe Victor, his ‘itch’. This is what he enjoys fighting is his dance. In one inspired sequence in the beautifully shot ‘Mazhai Vara Pogudhe’ (cinematographer Dan Macarthur), you are shown alternating sequences of Hemanika performing classical dance and Sathyadev shooting criminals in slow motion. Even when Sathyadev is forced by circumstances to sit at a table and perform administrative duties, he does so, reminiscing the good ol’ times when he would kick a table aside and send round after round of bullets into groups of criminals. ![]() Our local force only seems to be burdened with boring bundobust work.” This opinion is in stark contrast to the cop that GVM presents. In one scene, a well-wisher of Sathyadev says, “Only American policemen seem to appear stylish. He is suave, he is comfortable conversing in English, and he is, sometimes problematically, trigger-happy. The title credits that show stylised animations of objects like guns, handcuffs, explosives, and bullets make it quite obvious. Yennai Arindhaal, wherever I may deem its soul to be, is a cop film. She compliments his dressing, she says he looks attractive, and she is, as they are walking out of an airport, literally following him. You are in for more delight when the other leading woman in the film, Thenmozhi (Anushka), turns the tables on the guy-stalking-the-girl Tamil film cliché, and ![]() Making love (as GVM would call it) to her original partner. This is, after all, an industry where the majority of filmmakers, when showing a hero in love with, say, a divorced woman, find it necessary to prove that she is still a virgin, still pure… that some stroke of fortune somehow stopped her from Yennai Arindhaal, when he shows Sathyadev (Ajith Kumar) falling in love with Hemanika (Trisha), a single mother of a two-year-old, you cannot but revel in the delight and ask yourself if there is another Tamil director who so thrives in rubbishing time-tested rules of Tamil film romance. Vettaiyaadu Vilaiyaadu - to me, were the love scenes. Vinnaithaandi Varuvaaya - are obvious examples of this, the best parts in even his cop films. ![]()
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