#Karthi paruthiveeran patri joke movie#

His only friend is his uncle Sevvazhai (a very entertaining Saravanan), and the two cook up a routine so filled with laugh-out-loud one-liners that the real comedy track - one thatвЂ™s quite funny, featuring Ganja Karuppu - appears redundant.

So it seems only natural that heвЂ™d smile for the police photographer, for thereвЂ™s no one else giving him that kind of recognition.

If he werenвЂ™t doing these stupid things and ending up in jail, he wouldnвЂ™t have anything else to do with his life. This is how he defines his masculinity - and this is how he defines himself. But the way Karthi plays this character - and the way Ameer has written him - thereвЂ™s a strange vulnerability to this young man, and we see this in a scene in jail where he reaches out through the bars and locates a hand mirror and inspects his face as he twirls the ends of his moustache. His life is spent in and out of the local jail - almost always for crimes involving the aruvaa - and his big dream is to land up in a big Chennai prison. Veeran is the kind of guy youвЂ™d club under the category of sandiyar.

#Karthi paruthiveeran patri joke movie#

(ItвЂ™s basically a spin on the Romeo-Juliet template, where warring families oppose the young lovers getting together.) This is a movie in no hurry to get anywhere real soon, and thatвЂ™s because it centres on someone in no hurry to get anywhere real soon. After all these years of the cinema, I doubt if anyone actually goes to see a вЂњstoryвЂќ unfold anymore, and Ameer probably knows that his story is his weakest element. And thatвЂ™s why so much of Paruthi Veeran works so well. The infrequent bits of exposition are almost apologetic, as if Ameer is telling us that heвЂ™d rather show a bored Karthi entertaining himself by bullying a group of folk types into dancing than establish the framework of the narrative. This flavour - really - is the reason for the filmвЂ™s existence, for entire stretches of screen time are devoted to nothing else. (HeвЂ™s named Paruthi Veeran, after all.) ItвЂ™s when this song came on that I realised how completely the director (Ameer) had succeeded in immersing me in his (fictional?) Paruthiyoor. Yuvan may have chosen this number - one of his fatherвЂ™s loveliest creations - to underline the mood of the moment, but itвЂ™s too urban, too silken a song for KarthiвЂ™s coarse-cotton hero. ThereвЂ™s a staggering amount of detail here - dancers in exotic costumes, loudspeaker announcements, cattle with balloons tied to their horns, card players oblivious to the ear-shattering noise around them, eunuchs singing the praises of a local big shot to the tune of Gangai karai thottamвЂ¦ These opening frames so completely transfer us to a different world - thanks also to the burnt yellows of the cinematography and Yuvan Shankar RajaвЂ™s magnificently earthy score - that much later, when the hero discovers love and when Kaadhalin deepam ondru plays on the soundtrack, it comes as a shock. People whoвЂ™ve actually grown up (or lived) in villages may or may not find these depictions accurate, but for those of us from the cities, itвЂ™s a whirlwind tour of the rites and the rituals and the traditions that make up rural Tamil Nadu. It begins with scenes from a thiruvizha - I would have said вЂњfolk fairвЂќ, but given the rustic context here, that just doesnвЂ™t sound right - and this is possibly the most bravura stretch of atmospheric filmmaking since the manjal neeraatu vizha in Kaadhal. вЂ“ IF FLAVOUR WERE TO DETERMINE THE WORTHINESS OF A MOVIE Paruthi Veeran is a classic, one for the ages. SivakumarвЂ™s younger boy debuts in a showcase for how good filmmaking can (almost) overcome mediocre material.