isaignani ilaiyaraja, who completed the musical composition of more than 1000 films, has provided the musical score for many low-budget rural family artists, mixed with romance and comedy. Over the decades, many films belonging to this genre have become blockbusters and box office hits just because of Raja’s music during the 1980s and 1990s. ‘Oyee’ from debut director Francis Markus is the latest addition to this long list and let’s see how the film with predominantly new artists and technicians satisfies today’s audience.
shwetha (eesha) is released from trichy prison on parole to attend her older sister’s (neelima rani) wedding and takes a bus to chennai. The co-passenger is Krish (Geethan), a descendant of a Pannayar family from a village who travels to Chennai to meet her lover Gayathri (Babri Gosh).
shwetha notices that a thief is stealing krish’s jewelry and takes it from him. she in the process she misses the bus and her bag. she arrives at krish’s house to give him the jewel, but her family members mistake her for gayathri and make her stay in the house and treat her like a special guest. when shwetha learns from her sister that someone is trying to kill her, she uses the wrong identity and stays at krish’s house for safety during her parole period. After Krish’s return, the entire family refuses to believe his words and forces him to accept Shwetha as his wife.
what happens to krish and his family during shwetha’s stay and what kind of relationship blossoms between the two main characters has been told in the rest.
The first scene in which the heroine is shown as a convict released from prison on parole makes us sit attentive, waiting for something unique and new, but the attention does not last long. within the first twenty minutes we realize that the film is a run-of-the-mill game of hide-and-seek of feud and love between the hero and heroine, surrounded by a bevy of gullible family members, including a playful, womanizing uncle ( arjun) for the purpose of comedy, a dispute of strength between two pannaiyar families over who is more powerful in silambattam, all set in a rural setting. The story could have offered an interesting watch in the 1990s. The incidents that take place are hardly illogical and fall far short of the intended entertainment value. there is no explanation behind the heroine’s parole from prison or some thugs trying to kill her, until the end. these are only used as a reason to demand her stay in the hero’s place.
Despite these shortcomings, the film cannot be dismissed entirely. Francis shows promise with some well-written scenes that feature an unexpected twist here and there. the scene where the heroine slaps the hero and turns the table over is the best example. the comedy bandwagon that includes veteran actor sangili murugan playing the hero’s grandfather hasn’t given enough for the film to earn a passing grade as a comedy, but we can say they manage to get a laugh here and there, with a few one-liners to touch. the adult area.
good performances from prominent cast members and some meaningful and well-written dialogue from n.baskaran (especially in the second half) are the other pluses of the movie that help us sit down.
geethan is quite suitable for the role of a carefree rural youth. His appearance and expressions are reminiscent of actor Aari. His efforts to collect silambattam deserve a mention. eesha is a promising find who fits the character well and his emotions are impeccable. If he manages to land powerful roles backed by good scripts, he will surely be here for a long time. Arjunan’s attempts to make us laugh succeed here and there. Sangili Murugan also fits well in the comedic parts and in the emotional scenes it shows his experience as an actor. Nagineedu as the hero’s father fits the bill, but the Telugu flavor in Tamil diction of him is annoying. babri gosh looks pretty and has very little chance of performance.
Of the five songs composed by ilaiyaraja, ‘mudinja oru kai paru’ is lively and ‘thendral varum vazhiyil’ offers an ear-pleasing melody despite sounding ancient. With Amman Thirivizha’s song ‘Entha Ooru Ponalum’, Raja demonstrates why his music is the best choice for rural films. the re-recording is functional despite matching the mood of the set in many scenes.
yugaraj’s cinematography makes us feel like we’re in town. editing by manikandan leaves nothing to complain about.
Verdict: Neat acting, dialogue, some good scenes, easy listening songs, and some light-hearted comedy come with an uninteresting and outdated script.