May 01, 2006 06:09 PM
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(Updated May 01, 2006 06:15 PM)
Dum Dum Dum
The Story in Short
A movie with a neat and fairly simple storyline, coupled with effective crispy dialogue - a blend of sarcasm, wit and humor. A good enjoyable comedy with a nice fluent and glib Thirunelveli tongue at the backdrop of rustic beauty, with meaningful lyrics intertwined with pleasant melodies, with marvelous characterization gives the movie goers more than a mere ‘kalayana virundhu’.
The story curls around the simple concept of the marriage between ‘Aadhi’ Madhavan and ‘Ganga’ Jyothika – as they initially plan to stop their marriage but all their plots fail miserably. A bitter quarrel in the game of card spoils not just from Aadhi from tying the knot, but also the good relations between the two families. The story then moves to Madras, where the two meet and finally fall in love. The rest is about how the ‘Mangalya Sutram’ is finally tied around hers – the always-expected inevitable end.
More than just a movie
The movie has been woven using the Thirunelveli thread, that significantly helps for this variety of comedy. The railway station, the bus top, the hills, the small canals, the greeny farms, the streets have very well picturised the town of Ambasamudram in the viewers’ minds.
The director Azhagar Perumal has got a good measure of the story that reflects positively in his characterization. Whether it is the Velupillais or the Marudhapillai or the Gangas or the Aadhis or the Sdhivajis or even the Saamis, each character has given a punch to the screenplay and stands strong on the basement. ‘Pattamma’ Kalpana, though appears for not more than 15 minutes on screen, catches our eyes with her punnagais, her vetkams and her acting stints. The way she shuns away in shy (when Vellupillai tells her about her marriage) speaks volumes of her character.
A story of this type needs to have a well planned and smooth screenplay with fine dialogues. In this department, one can get the fragrance of Mani ratnam – short and crisp verbal exchanges. A free flowing film sequence has given way for a coherent song sequence… A job well done by the debutant…
A new notable scenes… The first plan of Aadhi’s to stop the marriage and Vellupillai’s keeping up his word. ‘En ponnaiye kodukkein… varenna kodukka…’ When Aadhi’s sister asks him, ‘enna saiya poreega…’and his quick reply ‘kalyanam panna porein…’ will not go without a laughter. Again after the kidnapping episode near the river, when Madhavan tells her that ‘Oru ponne modhala paarkanum… Ava pinnala alaiyo alainnu alaiyanum… aval nenachu keranganum… Appuram thaanga kalyanam…Aamam neenga kalyanam vendannu en choneega…’. Ganga with her serious face ‘Neenga ularina… naanum ularanuma enna…’ and then the facial duel between them was well caught. Then at the Nichayathartham, when Aadhi tries his best to stop and Ganga’s sister runs an errand between them, his retort ‘Unga akkalayum konjam yosikkachollu… Moola onnum koranchidaathu…’ was enjoyable.
Finally at the hospital, when Aadhi explains the argument between him and his father, does a good job turning the plate over and sending the signal across to his father – a pat for the director.
There has always been a pleasant music running behind the scenes – whether its Aadhi searching for Ganga or the two planning a plot or Ganga dancing in the fields. It is just not the background music, the songs have been a great success and all of them will be remembered for long. ‘Sutrum Bhoomi…’ song in the late evening skies marks a nice entry song for Ganga. Lyrics have been meaningful to the situation. ‘Dhesingu raja…’ song beautifully picturizing the mental dilemma, figuring the Thanjavur kovil prominently in twilight comprehends to the lyrics and the voices. ‘Aththaan varu vaaha…’ has a bit of glamour, a little of richness in the air, a little colour in the front with a fine dance sequence. ‘Ragasiyamaai…’ and ‘Un perai chonnale…’ are good pleasantries for the senses. A good cohesion of dance, lyrics and music have added value to the base storyline.
Action and dialogue delivery are positives for the movie. Though a different accent, the actors have done well to add taste to the script. Whether it is the key players or the side artists, there has been good emphasis on each role to keep the ball moving in the court. Another job well done by the captain.
Vivek’s comedy deserves a big applause. He scores it whenever he makes an appearance on screen, challenging the lead roles – the ‘indecent proposal’s , the ‘perfect murder’s the ‘mission impossible’s, the photo snaps, the kidnap scenes have all mixed well with the main stream.
Where it went wrong?
After an eventful first half, the second half did not have enough stuff to keep up the taste. And so it was much slower in the end. This slow pace was worsened with few unnecessary scenes with Chinni Jayanth. The ‘Krishan Krishna…’ song was probably a second intro song to match with what the lady lead had in the first half. This could have been avoided. Also the consolidation was probably handled for too long. It was the only possible end and bringing about something everyone knew should not have taken so long. The shorter the sweeter… Traces of Alaipaythe could be sensed in the scene at the college where Aadhi meets Ganga, wrong telephone number call and the conversations in the bus.
Dum Dum Dum is definitely a very good entertainer and is a pleasantry for a Sunday evening to be watched with the family on TV. There was not a single song or scene of commercialism. Director has well resisted the temptations of a beginner’s desperation for success. It may not be a big hit commercially, but will definitely stay in the minds of the people for sure.
