Notch up one more addition to the list of Tamil cinema directors who in 2004, have dared to be different and attempted to offer the viewer something other than the routine. The other members of this group, Kamalhassan(Virumaandi) and Manirathnam(Aaydha Ezhuthu), gave us new ways of storytelling. Parthiban, with Kudaikkull Mazhai, turns out to be the most radical of the three. But like Aalavandhaan, this resulted in my admiring the movie more than being entertained by it.

Venkatakrishnan(Parthiban), an autodriver, is pursued rather aggressively by Madhumita(Madhumita) after a chance meeting. The good-hearted Venkat soon falls head-over-heels in love with Madhumita, ready to do anything for her. But when it turns out that she may not be his, Venkat is prepared to do whatever is necessary to convince her of his love.

Almost everything in Kudaikkull Mazhai is a showcase for Parthiban's desire to be different. From the story and its picturization to technical aspects like camera angles, Parthiban's desire to veer away from the norm is very obvious and laudable. But I couldn't shake the feeling that this attempt to be different was atleast a little, at the expense of entertainment. There are several places and sequences in the movie where the actor or the technician in Parthiban can be admired but which as a part of the movie, make it less enjoyable and entertaining.

The film is essentially about the effect that love can have on an ordinary man. But this is not just the cute or naughty romance that takes place in most Tamil movies. Parthiban shines light on the heart of a man for whom love has a completely different and all-consuming meaning. The film has its cute moments(the scene where he makes the title happen is one) but is most effective when its gives us glimpses into the complex mind of its hero. There are several sharp lines that reveal his feelings, making him a three-dimensional, real character we feel for.

Kudaikkull Mazhai has a masterful climax that turns everything that came before, on its head. It is completely unexpected and is one of those rare Tamil cinema climaxes that deserves words like shocking and stunning. And one particular moment, where Parthiban and Madhumita cross each other, is so powerful that it creates a lump in the throat and hits us with force because of everything that has gone on before. The two characters themselves are oblivious to the significance of the meeting but for vastly different reasons and this serves to increase the impact of the scene on us.

While Parthiban plays a softer role as the autodriver, the role as his twin brother from Singapore finds him in his usual persona as the fast-talking, playful man with a tease in every line. While that persona has in the past, single-handedly rescued otherwise tepid movies, it feels out of place here. The character instead seems loud and irritating and scenes that he is in are the least engaging in the movie. The climax serves to explain the reason for the character and its basic characteristics but it could still have been toned down.

Parthiban the actor matches Parthiban the director too. He manages to touch us and earns our sympathy in quite a few places. Madhumita is a pretty find and makes the difficult role look rather easy. Karthik Raja reminds us of his illustrious father at many places with his subbdued yet effective background score. Cinematography catches the eye with several well-placed shots and unique camera angles(the one where we look up from inside a telephone as he dials is one of the many imaginative and inventive ones).