“Manmadhan” (2004)

T. Rajendar’s eldest son, “Little Super Star” Silambarasan finally makes his acting debut!  After five forgettable films (“Kovil” was probably the only passable one) that resulted in a career going nowhere, he decided to do something that has surprised one and all— write his own story, screenplay and star in a murder mystery, a genre that has had very few worthwhile entries in recent memory.  With an interesting story, a brilliant screenplay (especially in the concluding portions), deft direction (he was supposed to have ghost-directed the movie) and a superb performance, Simbhu demonstrates the fact that script-driven filmmaking will always eventuate in a high-quality film, irrespective of the amount of ‘masala’ thrown into the package.

 

Simbu plays the title character, an oily serial-killer, who murders debauched girls who, in his words ‘commit sins’ in the name of love.  Mythili (Jothika), a music college student, falls in love with him but at one point, finds out that he is the dreaded murderer who has been escaping the eyes of the police force.  The reasons behind the killer’s actions are revealed in a flashback that is followed by a final revelation that will delight the discerning cineaste who surrenders himself to the world of a movie character, even if it is outside the confines of the law.  And in here lies the success of Simbhu’s performance in “Manmadhan.”

 

In spite of the few fights, dances and the occasional throwaways in the way of “punch lines,” Simbhu’s ingenious writing ensures that the movie always sticks to the job on hand.  In many ways, “Manmadhan” is quite a complete thriller—he makes us understand the reason behind the central character’s rage and secondly, he keeps us at the edge of our seats with several twists (esp. in the second half) that are plausible in the world of movie logic.  It was much to my delight that I was always a step behind the writer (well, FYI, my intelligence quotient is above average!!) and at the end when things gradually raveled, I was genuinely surprised and at the same time, realized that things stood up well to post-viewing ratiocination.

 

The first half of the movie moves along snappily, with the thriller and romance portions being given equal screen time.  Jothika’s usual effervescence is on full display in the romance scenes and with this one, she adds one more role to her bag of cutesy cute love interests.  The murder scenes, though hanging on the precipice of implausibility, are well written.  I especially liked the scene at “Coffee Day” where Simbhu talks to a girl on the phone, while pretending to be hooked to his walkman.  But all of this is just a setup for the absorbing second half where the movie shifts into overdrive, with its flashback and the subsequent revelations.

 

The latter half of “Manmadhan” is what really elevates the film above a regular whodunit.  The high level of acting is undoubtedly the factor that makes these portions work, in spite of the occasional go-bys to logic.  Simbhu is fabulous in the role of the twin brother (the “Motta” Madhan character).  He strikes the right note in every scene, be it expressing his ecstasy after having fallen in love, or his subsequent disappointment.  He is at his menacing best when he taunts Sindhu Tholani and her “lover.”  It is a great scene where the character has the perfect point of explosion.  The effect is greater because the tension level escalates gradually instead of a burst out of nowhere.  And, without revealing much of the plot, I will say that there are two versions of a key scene and it is amazing how, in retrospect, both the Simbhu characters seem entirely convincing in the contrasting versions.  The fusillade of arguments and counter arguments in both scenes are marked by several sharp lines (penned by Balakumaran), with the one line about youth suicides eliciting spontaneous applause.

 

The supporting cast is a mixed bag.  As I mentioned earlier, Jyothika offers solid support in the first half, though she does look surprisingly jaded.  But she’s her usual perky self, even enjoying quite a few jokes at her own expense (like the “Kushi” reference).  “Sagala Ragala” fame Santhanam cracks a few funny one-liners in his limited screen time while Coundamani’s role (which was reportedly cut down at the editing table) is miniscule.  The one huge disappointment in the supporting cast is Atul Kulkarni, who is given a totally insignificant role, as the investigating police officer.  It is always fun to see people on either side of the law throw down the gauntlet and act in intelligent ways, but “Manmadhan” fails on this front.

 

Technically, the movie is superlative.  Yuvan Shankar Raja comes up trumps with his background score.  It successfully elevates the level of tension at many places, especially after the revelations.  He joins hands with cinematographer Rajashekar (“Kaaka Kaaka”) to ensure that “Manmadhan” appeals on a visceral level too.  Among the songs, “Kaadhal Valarthen” is a lovely melody, along the lines of his “Poi Solla” (“April Maadathil”).  The “En Aasai Mythili” remix is foot-tapping, both Simbhu and Jothika dancing with gay abandon.