'Nepali' audio release

More images can be found here.

The song (Priya ithu sitout) is a bit vulgar for my taste and another (Sound of action) is almost completely cogged from Kill Bill's soundtrack (Ironside by Quincy Jones). Other than that, I have nothing much to say about the soundtrack. I hope the movie saves face. I like Bharath and most of his movies and owing to my faith in him, I'll probably shell out the money to watch this movie. This movie could be the last straw on the Bharath's-fan-oLi's back!

The following is one of the stills from the movie I found here:

Sivaji's re-entry

Latest addition to the list of actors entering the film industry by virtue of personal networks is Sivaji, grandson of the legendary actor Sivaji Ganesan. Sivaji is making his debut as a hero in the movie Singakutti. Gowri Munjal stars opposite him and it is said that Vivek and Malavika also have important roles in the film. Music composed by Prasanna Sekar is mediocre, although 3 of the songs are already claimed to be hits. Sripriya is the producer and Venkatesh is the director.


Honestly, I don't think he appears very smart or charming, but I hope his genetic histrionic skills keep him afloat in the extremely competitive Kollywood industry and I wish him the best!

Marudhanayagam trailer

Godsend.

Haasan & Chan

I believe that it is easy to beat all expectations if you set them low. But setting-low-expectations and Kamal's-movies don't go together. As with any other Kamal movie, either advertently or inadvertently, Dasavatharam has gathered enormous hype around it. To add to the pre-release aura the movie created, The Hindu reports that Jackie Chan will preside over the Dasavatharam audio release function to be held on March 14. But, I don't see why Jackie? Do you?

Kamal or Rajini

This is not an analysis of the two stalwarts. If you were expecting one, I'm sorry to disappoint you. But on the other hand, I'm sure you'll be wearing a smirk on your face after seeing the following pic :)

(Courtesy: www.behindwoods.com)

You can find more incarnations of Kamal here at Behind Woods.

Review: Kireedam (Tamil)

Class to crass.

Rating:5.9/10 (5,5,8,6,6,7,5,5)

Link to the Kireedam's (MalayaLam) review.

If all it took to remake a classy movie was to recruit big names, make it anachronistically modern and retread the original scenes with bad acting, then Vijay, the director of Kireedam, would have made it. However, success takes more than blanketing a classic story on top of a modern setting and additional masala. This would have been a riskfree venture if Ajith could have gotten over his past failures and mustered some enthusiasm to act. But unfortunately, through out the movie, he lacks confidence. Ajith takes on the role of Mohanlal in the original and Rajkiran dons the role of Thilakan.The backbone of the original are the characters and the beautiful relationships. The lack of the bone here is because of shallow characters and undeveloped emotions.

To recapture the story: Rajarajan (Rajkiran) is a steadfast constable whose biggest ambition in life is to make his son, Sakthivel (Ajith), a Sub-Inspector. After an emotional send-off when Sakthi goes to write his SI exams, Rajarajan confiscates the car of a law-breaker who happens to be the son of a politician. Since Rajarajan refuses to apologise, the department has no other choice than to transfer him to Kodikarai, which is haunted by the rowdy Varadhan (Ajay). Meanwhile, Sakthi proposes to Divya (Trisha), and their parents give their consent to this relationship. Once Sakthi returns, a clash between Rajarajan and Varadhan ropes in Sakthi, and in an outburst of rage Sakthi mauls Varadhan. This promotes our beloved hero, much against his will, to the position of a rowdy. For every step Sakthi takes forward, the gang wars make him take two steps backward. At a point when his family's well being is at stake, Sakthi resorts to the do-or-die attitude.

The biggest problem with this movie is the acting, or better put, the lack of it. Ajith simply has to act. It's that simple. He is lifeless throughout the movie. He blew my top off when he hogs, like there was no tomorrow, when Rajarajan brings him food when he is in jail. The scene turns from an emotional scene to some sort of an advertisement for SaravaNa Bhavan! The underdeveloped love between Divya and Sakthi is nauseating to add to which his proposal dialogue "first payyan apparam poNNu" has the potential to drive any movie critic crazy.

I think the biggest problem with this movie is that it has a yardstick to measure against. When the original is a blemishless piece of art, to even try to live up to it, the remake should have tried to resemble reality. In choosing to glorify the hero and have big cities as the backdrop for the story, the director fails to hit the spot.

To the whole crew's credit, this is better than previous Ajith's movies and even better than most recent masala movies. Also I feel Ajith's potential as an actor is more than what he has displayed in the past. I was expecting this movie to elicit his talent, but I was disappointed to find that it did not. He does not have too much steam left in him and if anything miraculous has to happen to make his career float, it has to be now and it has to be movies that have strong stories such as Kireedam's.

Rajkiran does his part well and so does Saranya as Sakthi's mom. The pair reminded me of Thavamaai Thavamirundhu. Rajkiran remains docile for most of the movie, except for the action scenes. Vivek's presence is not felt much, and most of the humour falls flat amidst the atmosphere of the movie.

The music is above average and my favourite, as would anyone else's be, is akkam pakkam. It is a sweet melody and Sadhna Sargam does a good job with the tune and, unsurprisingly, a bad job with the pronunciations of the lyrics. Kanavellam is a fast number with a catchy tune. The theme music is haunting and fits the story well.

If only Ajith and Trisha had acted...

This week in Tamil Cinema

This week in Tamil Cinema has been very active. Interesting news abounds.

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Kireedam, an Ajith starrer, is releasing today. Ajith's previous movie, Aazhwar, sunk like a rock. Trisha, whose previous movie with Ajith - Ji - was barely pecked by the Tamizh audience, is the heroine of Kireedam. Raj Kiran, who has grown to be the Tamizh Big-B in choosing dignified roles that suit his stature, plays the role of a doting father to Ajith. I've developed a soft corner for Thala since it appears to me that he has stopped taking himself too seriously. The preposterous role in Citizen, where he thought he could get away with portraying an annoying stentorian village bum, just cannot be accepted. But from then on, he has been toning down his mannerisms and polishing his histrionics. Now he acts reasonably and looks pleasant. I hope he gets a break through Kireedam and we see more movies of his movies such as Vaali and Aasai.

Balaji's thoughts at this impending release is here.

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Shreya, who is rumoured to have demanded a whopping 65 lakhs for Dasaavatharam after being carried away by Sivaji's success, is starring opposite Thala in his next movie. I think today's heroines realise that their stint in movies will be rather short compared to that of the men in the industry and feel that they might as well make hay while the sun shines and demand unreasonable salaries. While it is fair that the market dynamics offer high salaries that they deserve today, misestimating their worth can cost them their career. I hope Shreya realises this.

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Eccentricity is hereditary. Living proof is Simbu, son of T. Rajendar. Kettavan starring the former, it seems, is about his relationship with Nayantara which failed.

I feel that both the dad and the son are very talented, but that the talent is eclipsed by their eccentricity. The schizophrenic feel they have - sometimes displaying flashes of brilliance, sometimes making a complete buffoon of themselves - is what attracts me to their movies.

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Saving the best for the last, here is more news about Dasaavatharam from randramble. The news item he links to does not come as a surprise knowing Kamal, but is very pleasant in that we learn Kamal is still his diligent hard-working self. His conviction in portraying scenes as close to reality as possible is one of the main reasons for his success in the industry. 'Ethaartham' (meaning real and natural) is one of his main themes in anything he does. So much so that I actually thought for a second that the the above was really GWB, one of the characters he plays in Dasaavatharam.

Kamal's remakes and Dasaavathaaram

Rumour has it that Kamal's Dasaavathaaram is a remake of the Spanish TV movie Tempus Fugit (Time Flies). This rumour has gathered momentum owing to the discovery that Kamal has bought the rights to remake Tempus Fugit and the indismissable similarities between Dasaavathaaram and Tempus Fugit.

This rumour launched me on an armchair travel through Kamal's remakes to figure out a couple of them I liked the most. The contention was not for the first spot, which was unequivocally clinched by Anbe Sivam, but for the second spot. I was finding it hard to decide between Thenali and Kurudhippunal, and finally let them tie.

Anbe Sivam, arguably Kamal's seminal movie, directed by C. Sundar, is loosely based on the Hollywood flick Planes, Trains and Automobiles. I call it 'loosely based' because the movie's theme is not inspired but the means to the theme is inspired from the original. The movie, in bringing together two noble characters who are as different from one another as possible (which is the inspired bit) etches the theme - love is God, and God is love - (which is very different from that of the original) in the minds of the audience. This is a perfectly balanced movie with the right blend of comedy, sentiments, love, friendship, politics and satire. In addition, brilliant performances from Kamal and Madhavan, witty dialogues by Madhan and mellifluous music by Vidyasagar make it my favourite movie of all times.

On the other hand, Thenali directed by K. S. Ravikumar, a movie that is loosely based on the movie What about Bob?, is a commercial entertainer that relies on 'Crazy' Mohan's wordplay, Kamal's versatility, slapstick and physical comedy. Through funny, and sometimes contrived, circumstances, Thenali (Kamal) hooks on to Dr. Kailash (Jayaram) and slowly transfers his lunacy to the Doctor himself. The movie owes its success mainly to the rhythmic exchanges of dialogues between Kamal and Jayaram. The movie is one of my favourites among the Kamal-'Crazy'Mohan ventures.

Kurudhippunal, a remake of the Bollywood classic Drohkaal, directed by the veteran cinematographer P. C. Sreeram, is the story of the cop Adi NarayaNan (Kamal) going through, within himself, a battle between his love for his family and his conviction as a cop. Stellar performances by Nasser (playing Badri the terrorist), and Arjun (playing Adi's friend Abbas, a cop) strengthen the movie's impact. This is a movie without any songs and so thankfully we're saved from seeing the hero and heroine run around trees and play hide-and-seek. The brilliant cinematography is a treat to the eyes.

Avvai ShaNmugi, a remake of the Hollywood hit Mrs. Doubtfire, and Vasool Raja, a remake of the Bollywood blockbuster MunnaBhai MBBS are the other movies that were in close contention. Avvai ShaNmugi gave Thenali the run for its money.

Kamal is one film maker who can improvise on books or other movies and create a remake that is even better than the original. Hence, I share the confusion with randramble of not knowing whether I want to see Tempus Fugit before Dasaavathaaram...

Update: I don't consider Nayagan a remake even to the extent that Anve Sivam is a remake. Nayagan is based on real life events of the don Varadaraja Mudaliar. Some scenes may be inspired from God Father, but that isn't criterion enough to consider it a remake.

Black plays White

No it's not Chess!

It came as news to me that Captain Vijayakanth is known as 'karuppu' MGR. It came as a bigger news that the 'fighter' producers think it is humanly possible to amass enough white paint to convert the 'karuppu' MGR to play the real MGR. May be they plan to shoot the movie and then play the negative of the reel in the theatres. Otherwise, no matter how much make-up is used, no matter how hard one squints, it's going to be hard to accept Captain as Vaathiyaar.

Review: Chennai 600028

Dokku, Gaaji and Bet-matchu you can relate to.

Rating: 6/10(6, 5, 7, 6, 6, 6, 5, 7)

This low budget venture by Venkat Prabu, son of Gangai Amaran, is a street-cricket centric light hearted tale of two teams, Sharks and Rockers, and about their rivalry saga reaching a pinnacle at the impending flood-light tournament. The beauty of the story is that, if you ever lived among the 'local' cricket teams, you'll immediately be able to relate to every character. The characters don't have depth enough, but even the superficial portrayal elicits memories of someone that you match each character with, and that made me relive my fond street-cricket moments (this is why I gave the story a 7/10). Visalakshmi-Thottam, the home of the Sharks, reminded me not only of my local-cricket past, but also of my frequent visits to a friend who actually lived in Visalakshi-Thottam. The portrayal of Visalakshi-Thottam is very accurate, with jobless guys bullying around newcomers and kids, extracting rides from their new bikes and borrowing their new bats/balls (I've been a victim, and so the emotion :) ).

The movie starts with SPB introducing the characters of the 'hero' team, Sharks, in a magnific voice and a jovial tone. This kickstarts the movie on a very light vein that immediately puts every cricket lover in a comfort zone. Raghu (Jai), a lead 'Royapuram' Rockers bowler, moves to the Sharks' area since his father gets transferred from Royapuram and this creates friction between him and the Sharks. Also owing to his inability to attend Rockers' practice, he is suspected of being a Sharks-spy and is demoted in the batting order. This rubs him the wrong way, causing him to gradually shift from the Rockers to the Sharks. Meanwhile, Karthik (Siva), the Sharks team captain, falls in love with the sister of the lead Sharks batsman, Pazhani (Nithinsathyaa) which creates a intra-team conflict when the big game around the corner. To further complicate matters, Karthik gets stabbed by one of his brother's enemies, and this prevents him from playing against the Rockers. Raghu's Rockers knowledge comes as a vital weapon during the Sharks semi-finals against the Rockers.

I enjoyed a few characters and situations that I could completely relate to. Seenu (Premgi Amaran) is a self-proclaimed all-rounder and I immediately fell in love with his character. I mean, who would not fall in love with a character who is pretty bad at cricket, is the funny bone of the team and is happy being that way. Seenu's delivery of a Chandramukhi take-off is nothing less than hilarious. Half-way into the movie, the team wants to garner money for a 'thaNNi' party, and compels a middle-school team into a bet-match on the beach. If you've ever played bet-matches, you'll realise how funny this gets - I've been in situations where we were over-confident getting into a bet-match, without having money at stake, and later had to pawn our cricket-kits for a few days until we gave the winning team the money.

The movie ends in a very unexpected but a very funny note. This way, you forget the unspectacular meat of the movie and just remember you were happy during the start and at the end and have an illusion of satisfaction after the movie.

The movie negatives were average performances from the amateurs and not-so-special screenplay. The positives were that it strikes the love of the masses - cricket - and that it still does not make a fool of itself unlike movies such as I love you da. The last time I remember seeing cricket as even a side theme was in uLLam ketkume and the movie did a reasonable job of portraying it credibly. I would like to see more movies with cricket as their theme, mainly because of the audience base that it can muster. But since the audience are very aware of the subject, it becomes difficult for the director to give a real-feel. Chennai-28 succeeds in giving the movie a real feel by resorting to street-cricket and by studying the nitty-gritty of the game.

The song Yaaro-YaarukkuL by SPB is my favourite in the movie and has the SPB feel that reminds me of ellorum sollum paattu from Marupadiyum. World cuppa is a catchy number with funny lyrics and un paarvaimele pattal has a classic Yuvan signature. It is noteworthy that the music was composed by ILayaraja-puthran Yuvan and Amaran-puthran Premgi.

Review: Karuppusamy Kuththagaidhaarar

Old wine in a new bottle. Fresh start, but familiar aftertaste.


Rating: 6.2/10(6, 6, 7, 7, 6, 5, 5, 7)

Given the number of films that come out each year with love as their subject, directors have to scout consciously for new ideas to serve the old wine in a new bottle. That is exactly what director Murthy has done with Karuppusamy Kuththagaidhaarar. He has served a premeditated theme in a new setting - love hindered by the lovers' desire for education.

Karuppusamy@Jerox (Karan) is a cycle stand contractor (which might justify kuththagaithaarar in the title), also runs a dance troupe that stages actor-lookalikes. This blend of professions gives a unique air to the movie's setting. The movie opens with Nagesh, Chandrababu, Kamal and Sivaji clones dancing on stage when Karan is introduced as a Rajni Kanth 'Jerox' and comes dancing on stage for the song pothuvaaga enmanasu thangam. I was actually quite surprised at how closely he resembles KaLai. Jerox is a happy-go-lucky Madurai-bred youngster mouthing a thick Madurai-Tamil accent. All his friends from the troupe form a jolly circle that is portrayed beautifully. Jerox meets Raasathi (debutante Meenakshi), a medical student, who is a customer at Jerox's cycle stand. She is drawn to him owing to his illogically close character resemblance to Raasathi's mother - a character that is unassumingly selfless, and casually caring which makes the audience invariably develop a liking for Jerox. Raasathi expresses her feelings to Jerox, but also mentions that she is unable to concentrate on her education since he disturbs her emotionally, and guarantees that if he stood by her, she would go on to become a successful Doctor. Initially confused, Jerox slowly develops a liking for Raasathi and his main motive becomes to see her successful in her career (at this point, I was reminded of the Suryavamsam relation between Sarath Kumar and Deivayani). Uptill this point, the movie is fresh and the relationships portrayed are believable.

When Raasathi's father starts opposing her love for the lower caste Jerox, the movie flashes back to explain why and how Raasathi, her father and her grandfather willfully estrange themselves from the rest of the family. Raasathi's father, now, reunites with his family primarily because he thinks they will be able to save them from an impending discomfiture. Jerox's main intention still being to see Raasathi successful, trades his love for her education. But the villainous characters (resembling those in Kadhal), plot against Raasathi and Jerox. What happens to the star-crossed lovers forms the rest of the story.

The Jerox-Raasathi relationship's undercurrent of education adds a special dimension to love that no other movie has exploited. The simplicity and clarity of their relationship is very touching. The climax of the movie floats like oil on water, and does not fit well with the simplicity that was established all through the movie. The second-half of the movie is difficult to digest and starts smelling of old wine. The occasional jibes in Madurai-Tamil are really funny.

I have not yet seen Karan's Kokki. But since I saw him last, he has gone down tremendously and looks as young as ever. I used to like Karan as an actor about a decade back, and more so because he used to live opposite to a friend of mine from school. Even purely as an actor, I've always felt his potential wasn't exploioted and about 6 years back, I've argued with friends that his potential is as untapped as was Chiyaan Vikram's. I'm happy that he is getting projects that scratch his talent. Meenakshi is impressive for a beginner and has a homely look. But her appearance might deprive her of chances in non-village based subjects. Her eyes, eyebrows and facial make-up reminds me of Sruthika. Vadivelu's comedy track isn't all that funny and like many of his recent films, is patched over the movie almost as an after-thought. But the movie's comedy was likeable and subtle except for Vadivelu's sections.

Dheena's music is run-of-the-mill for most part. I liked Sangam Vaithu for Karthik's voice and for a pleasant fusion of folk and western music. O. S. Arun, I feel, has been brought into the soundtrack for no big reason. His song Kaadhal Enbadhu is very ordinary as is the song by Bombay Jayashree - Uppu Kallu. The song Karuppan Varan is inspiring and fits the movie perfectly.

Review: Unnale Unnale

It translates to 'because of you' but really, whom do we blame?

Rating: 5.3/10(6, 4, 6, 5, 5, 6, 7, 3)

The movie's director Jeeva passed away on June 26 2007 after a fatal cardiac arrest when he was shooting for his next film, Dhaam Dhoom, with Jayam Ravi in Russia. May his soul Rest In Peace.


The earlier ventures of the cinematographer turned director Jeeva, 12B and ULLam Ketkume, were fresh, youthful and funny. This movie has a mild dose of youthfulness but glaringly lacks in the other two aspects.

The movie is about 3 educated youth involved in a love triangle. The subject of the movie is so trite that it is difficult to handle the subject without sounding clichéd. Here, one should appreciate Jeeva's efforts, since this is not the aspect of the film that lets it down badly. Karthik (Vinay) who is now a Civil Engineer, in flashback, falls in love with Jhansi (Sada) during their college days. Their characters are poles apart. Jhansi is a stickler with respect to what she expects from her love and Vinay is a compulsive flirt who flirts at every chance he gets. After an implied break-up, Karthik still likes Jhansi but isn't able to understand her expectations and thinks she is unreasonable. Well, with their characters designed to repel each other, I don't know why two such people would even talk to each other, let alone fall in love!

Karthik gets an opportunity to fly to Melbourne for his project, and in his flight to Melbourne he meets a chirpy bubbly girl Deepika (Tanisha). Some of her pranks and antics on the flight are lovable, but does not do much to save the film. In Melbourne, Jhansi, Depika's colleague, comes to receive Deepika at the airport. At this point in the film, it become blatantly obvious that the movie is going to revolve around the three protagonists going in and out of a love triangle. Deepika slowly develops a liking for Karthik, but still sincerely tries to patch-up the two poles. By taking the characters in and out of emotions, the movie does well in the keep-guessing aspect of the suspense - which was what prevented me from pressing the 'stop' button.

I think all 3 protagonists have dubbed voices, which actually slows down the pace of an already snailing film. There is an idiom in Tamil - 'kadichu thupparathu' - which perfectly describes Vinay's dialogue delivery. Vinay's light-hearted look helps in many scenes, but isn't a strength in serious scenes. Sada does not have much of dialogues, and I think her character was such that she had to do much of the acting only through her eyes and facial gestures which she does reasonably well. Tanisha, living up to her sister Kajol's reputation, does very well to raise the spirits of an otherwise flagging movie. Sridhar's comedy comes as nothing less than annoying. It completely stalls the pace of the inching-film and his slapstick and loud style does not gel with the subtle emotions the film tries to convey. I'd prefer not to comment on Raju's (Raju Sundaram) comedy stint in the movie.

The song unnale unnale is the highlight of the soundtrack. Karthik's voice does the magic again as it did in oru malai iLa veyyil (Ghajini) and oru ooril azhage (Kakkha Kakkha). June ponaal has Harris Jeyaraj written all over it, and one interesting fact about this song is that it was written with the movie name July katril in mind which was later changed for tax reasons. Hello miss resembles the song vaNNaththu poochi from Bala. The other songs did not make much of an impact. The background score is kept alive just by the tune of unnale unnale and is otherwise quite dull.

Other interesting trivia about the movie is that Arya and Sonia Agarwal refused when offered the lead roles in this film.

Tamil Cinema Gossip

In my opinion, MusicIndiaOnline-Tamil's Hot Off the Press is an example of a perfect web replacement of the gossip magazines such as Cinema Express. Though I can read Cinema Express online, the pleasure I derive from reading gossips in English with added 'masala' is unmatched. Here is one perfect example of such a gossip.

...we hear that he (P Vasu) is all set for a bigger project — to direct Kamal Haasan no less, after the ‘Ulaga Nayagan’ finishes Dasavatharam.
...
When asked, Vasu laughed off all speculation saying “No comments”. In simple English that means he is still writing out the story.

No comments. No, I'm not still writing out a story. How come, given the above? Because, I don't use simple English.

It was also very interesting to read that the MIO crew consider P. Vasu's working with Kamal a bigger venture than his Chandramukhi project. I mean, each of their articles is a chockfull of titbits that make it unusually interesting and sometimes controversial.

And it's of course great news that Kamal is going to be working with P. Vasu on an 'entertainer'. And right now I'm eagerly waiting for Dasaavatharam, in which Kamal plays 10 different roles, to release. Currently the release is slated for DeepavaLi and I hope this venture does not get delayed as is typical of Kamal movies.

oLiyile therivathu

oLiyile therivathu song (audio) from Azhagi is one of my favourite songs. Apart from the personal associations I have with this song, I love this song for its unique blend of wind and string instruments, the subtle touches such as the bell before "kovil maNiya yaaru adikkira" and Karthik's voice which sounds like a soothing waterfall in an isolated jungle - which all make this song an emotional rollercoaster. The song's video also supports the song in carrying through its emotion (unlike songs like vaseegara).

The following is the lyrics of the song from MIO.

Movie Name: Azhagi (2001)
Singer: Karthik, Bhavatharini Ilayaraja
Music Director: Ilayaraja
Lyrics: Palani Bharathi
Year: 2001
Producer: Udhaya Geetha
Director: Thangarbhachchan
Actors: Nandita Das, Parthiban

Oliyilae Therivadhu Dhaevadhaiyaa
Oliyilae Therivadhu Dhaevadhaiyaa
Uyirilae Kalandhadhu Neeyillaiyaa
Idhu Nesamaa Nesamillaiyaa
Nenavukku Theriyaliyaa
Kanavilae Nadakkudhaa
Kangalum Kaangiradhaa Kaangiradhaa
Oliyilae Therivadhu Dhaevadhaiyaa
Dhaevadhaiyaa Dhaevadhaiyaa
Chinna Manasukku Velangavillayae
Nadappadhu Ennennu
Enna Enniyum Puriyavillayae
Nadandhadhu Ennennu
Koyil Maniya Yaaru Adikkiraa
Thoongaa Velakka Yaaru Yaethuraa
Oru Poadhum Anaiyaama Endrum Oliranum
Oliyilae Therivadhu Neeyillaiyaa
Neeyillaiyaa Neeyillaiyaa
Putham Pudhiyadhoar Ponnu Selaiyonnu
Kulikkudhu Manjalilae
Poova Poala Oar Chinna Maeniyum
Kalandhadhu Poovukkulae
Ariyaa Vayasu Kaelvi Yezhuppudhu
Nadandhaa Theriyum Ezhudhi Vachadhu
Ezhudhiyadha Padichaalum Edhuvum Puriyala
Oliyilae Therivadhu Neeyillaiyaa
Uyirilae Kalandhadhu Neeyillaiyaa
Idhu Nesamaa Nesamillaiyaa
Nenavukku Theriyaliyaa
Kanavilae Nadakkudhaa
Kangalum Kaangiradhaa Kaangiradhaa
Oliyilae Therivadhu Dhaevadhaiyaa
Dhaevadhaiyaa Dhaevadhaiyaa
Oliyilae