Towards the end, Madhu uses the children of an apartment complex to help him with an important task, but the method is already foreshadowed in the beginning, when Bhargavi offhandedly mentions it. A policeman saying Madhu will be safe nowhere shifts to an apartment in which Madhu’s girlfriend tells him he’ll be safe. The green of a power button shifts to the green of a traffic signal. A man’s angry eyes shifts to the red of a traffic signal. But he also gets some refreshingly serious scenes, including one in which after suffering from memory loss, he becomes oblivious to the presence of his wife who’s in the same bus as him. All the same, he still calls tank ‘dank’, change ‘jaynch’, and hundred ‘gundred’. Soori’s character isn’t just relegated to his choicest humour technique - mispronouncing words. Meanwhile, Chota and his underlings communicate through Gmail drafts. Bhargavi’s the earning member, and provides the man with all the financial support, till he can get himself a job again. Madhu and Bhargavi (madhu and bar-u, as they call each other) are already in love when the film begins. The story may not be the world’s most inventive one, but Gaurav’s enterprising ideas keep proceedings lively. It’s also about Soori’s character, who has to leave Chennai urgently to be in time for the delivery of his child (he’s convinced it’s a boy, and that people like Trisha and Hansika will be after him). It’s also about Chota and whether he will accomplish his mission of terrorising Chennai city. Ippadai Vellum isn’t just about Madhusudhan and his love story with Bhargavi (Manjima Mohan). Frustrated thugs tell their boss that it’d be easier to capture a dinosaur from Jurassic Park.Ĭast: Udhayanidhi Stalin, Manjima Mohan, Soori He has also seemingly learned a lesson or two from Rickon Stark of Game of Thrones, given how he always runs in a zig-zag motion. He does a lot of running in this film, trying to escape both thugs and policemen alike. If Udhayanidhi wanted to be a larger-than-life hero, he would be chasing thugs.
Imagine the struggles he has to undergo every day!” And then, you’re shown Madhusudhan running in slow motion, his face contorted in concentration. Finally, you get sight of Madhusudhan (Udhayanidhi Stalin), but not before his mother (Radhika, who plays a bus driver, and gets a short, effective flashback) can preface the intro scene with a factoid of praise.
For a long time, all you get is the introduction to the evil Chota (Daniel Balaji), a terrorist whose idea of a perfect Sunday is to be holed up inside a room with some materials with which to create explosives. It’s quite a while before he even gets his introduction scene in Ippadai Vellum. His characters reveal a reluctance to impose himself on his films, and it’s a welcome change from all our hero-driven films. I’m starting to quite like how Udhayanidhi Stalin chooses his stories.
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