Vellithirai movie review

Nurturing the film with many realities that has been brimming about in Tamil Film Industry, Director Vijay makes pinpoint presentations of those stuffs with Vellithirai. Anything is possible when it comes to wonderland of films: an ordinary man turning into a superstar in an overnight, his supremacy executed even in fixing up of single shot and frame and dominating even the producers has been well-depicted in Vellithirai. Viji who earlier stood on the shoes on writing dialogues for much of the prior films produced by Duet movies now commences his directorial journey under the same banner.
Malayalam movies are always hard to remake, because the very varying scripts with peculiar themes. Director Viji should be well appreciated for his enchanting work as a playwright.
Let’s take a glimpse on the storyline of Vellithirai…
Set at the scenario of a film industry, the film revolves around two characters Saravanan (Prithviraj) and Kannayan (Prakash Raj) sharing their room. Of course, they aren’t just friends and roommates, but they have common aims to fulfill. With Saravanan eyeing to become a great director and Kannayan as a big star, they keep struggling for a long time. Well, at a point, fortune knocks their door but it costs more. With Saravanan heading to Hyderabad to narrate his script for a producer, Kannayan plagiarizes lifts his friend’s original works and approaches a famous producer (Sarath Babu) and Director (Pratap Pothan). In an overnight, Kannayan becomes a great star in filmdom with the name of Dhilip Kumar.
Unaware about this betrayal, innocent Saravanan signs for the project with a great producer of same script. But later as he approaches actress Trisha narrating the script, she reveals that Director Prathap Pothan had earlier narrated the same script to her. But she wasn’t able to take up the flick and chance got fleeted towards actress Mythili (Gopika).
Mythili is a famous heroine and she is in love with Saravanan. As in many cases of many heroines, she too suffers a lot of trouble rendered by her brother (Sampath). But soon, Saravanan after getting to know about the cunning deed of Dhilip Kumar is stuck with misfortune now. Situations force both Mythili and Saravanan to get married and now things aren’t easy for him, as he opts to run his livelihood driving call taxies. Feeling that she is a burden and obstacle to her husband’s dream, Mythili gets herself alienated from him.
Filled with depressed moods, Saravanan has no one to share his sorrows and the same producer Sarath Babu comes to his rescue now. He assures to produce a film for Saravanan but under the condition of adding Kannayan aka Dhilip Kumar as the hero. Unable to refuse this offer, shooting for the film commences and Dhilip dominates a lot in the spots, making changes in the script according to his likes. As an illustration of his arrogant act, he walks out of the shooting even before completing the climax.
Broken down with anguish, Saravanan and his entire crew of film now takes his turn in retaliating Dhilip and this is something big for the star…
The best attributes of the movie would be the entrancing dialogues penned by Viji himself. Indeed, more than direction, he plays his skillful work in delivering dialogues blended with comedic aspects. Few dialogues about the film industry are natural and will be surely liked by all. As of performance, there is nothing special over here for Prithviraj and Prakash Raj have come up with the same performance.
Gopika’s characterization is tidily designed than that of Meena in the original Malayalam version. The problems faced by most of the heroines in real life are well depicted by Director Viji. Prakash Raj is more attached with his character and might be that’s because of his real life acts. Nothing is so special about the performance of Prithviraj, but he looks apt with the role performed.
But most of the minor characters in the film have performed stupendously, especially with that off with MS Bhaskar and Charlie who add up to the limelight.
The film is a great disappointment when it comes to technical aspects. G.V. Prakash adds one more to his list of dissatisfactory tunes, except a melodious one.
Valuating the film on a whole, from the beginning till the end, the film has been a replica of Malayalam version ‘Udhayananu Tharam’ and so there is nothing you can appreciate about the director’s cut in the flick. It is just the dialogues and performances by the star-casts that enhance the film’s quality. Director Viji has to improve a lot in powerfully crafting the screenplay and that would do better for him.