1 out of 5 (Poor)
Oru Nadigayin Vaakku Moolam turns from a poorly made film to an expendable chunk of garbage.
Rohit Ramachandran Sun, 12 Feb 2012
Girija (Urmila Unni) swears to society that she will turn her daughter, Anjali (Sonia Agarwal) into an important actress. She then reveals that her mission in life is to make the world fall at her daughter's feet.
And at that she is unyielding. She has sex with a stranger and uses its earnings to clear her debts, and her mind. On her journey she continues without pausing to think of a way out. Her patience is eventually rewarded with a role being offered to Anjali. The gods are thanked and just as the deal is about to be sealed, the hiring director explains that there are no virgins in the film business and that Anjali will be no exception to the rule. So he takes it upon himself to rectify it. Anjali's compromise turns her into an overnight success, summed up by a musical montage- a wise decision on the director's part.
The family members change, especially mother Girija. She can no longer think in terms of actions and consequences. She thinks in terms of money and her daughter's the finest money minting machine within her reach. Anjali feels the objectification and is put at unease. She complains, but in vain. Damage has to be done.
Oru Nadigayin Vaakku Moolam takes us through the rise and fall of an actress. The rise is quickly done away with. Anjali's fall is the crux of this intended biopic. Director Rajkrishna seems to take delight in this character's misfortunes. Schadenfreude? Unable to restrain himself, he puts her through everything that he wouldn't want to be put through. Every scene is thought out and constructed in worst-case-scenario. He is so caught up in her pathetic life he pays no attention to motivation or logic surrounding its events. And when Girija whores out Anjali to a minister, pulls her cheek for co-operating and says "En Chellam" you know that this guy is having the time of his life.
The first half is bearable; you know that there's a story worth telling and you're willing to excuse the mediocre handling. In come the villains, a lover who successfully lays a guilt trip on her for not sleeping with a producer ("Namma plan success") and a shrill Kovai Sarala (undergoing makeovers), and this turns from a poorly made film to an expendable chunk of garbage.
Critic: Rohit Ramachandran
1 out of 5 (Poor)