Manmatha Leelai Tamil Movie Review
Cast-;
Ashok Selvan , Chandramouli , Samyuktha Hegde , Riya Suman , Smruthi Venkat , Premgi Amaren , Jayaprakash , Karunakaran , Chandran and others .
Crew-;
Production Banner : Rockfort Entertainment , Producer : T Muruganantham , Director : Venkat Prabhu , DOP : Tamilazhagan , Music Director : Premgi Amaren , Editor : Venkat Raajen , Lyrics: Gangai Amaren , Art Director : Umesh J Kumar , Executive Producer : Aishwarya M , Creative Producer: K B Sriram , PRO : Sathish (AIM) . Writ er ; Venkat Prabhu ,Colorist : K. S. Rajasekaran , Publicist : Tuney John ,Writer : Manivannan Balasubramaniam , Execut ive Producer : Aishwarya M , Fight’s : Stunt Silva , Singer : Ajay Krishna , Swagatha S. Krishnan , Gangai Amaren and Others .
Story-;
The story of Manmatha Leelai happens in two different timelines (2010 & 2020), showcasing Sathya’s (Ashok Se lvan) two main episodes of lust. Both the episodes have unexpected outcomes. How did Sathya, the woman izer react to those situations, forms the premise of Manmatha Leelai. The plot of Manmadha Leelai is intercut betw een events that happen in two time-periods. In 2010, Sathya (Ashok Selvan), a college student, invites hims elf to the home of Poorni (Samyuktha Hegde, who pulls off a tricky role pretty well), a girl who he’s been chatting up online.
With her ‘father’ (Jayaprakash) going out of town, he plots to get laid. Meanwhile, in 2020, the same Sathya, who is now a top fashion designer, invites Leela (Riya Suman, effective as a femme fatale), an IT worker who has wron gly ended up at his door, into his home. His wife Anu (Smruthi Venkat, playing Miss Goody Two Sho es yet again) has gone to visit her parents with their little daughter, and Sathya sees it as the perfect opportu nity for a one-ni ght stand. The movie is said to be fun and quirky and will revolve around hero’s an extra-marital affair.
Watch The Trailor-;
Movie Review-;
A Tamil love drama film directed by Venkat Prabhu, Manmatha Leelai is released today on 1st April 2022. This movie takes place in 2022. Thamizh A Azhagan and Venkat Raajen shot and edited the film composed by Premgi Amaren. T. Muruganantham produced the film under the umbrella of Rockfort Entertainment, which he foun de d. Manmadha Leelai’s narrative is intercut between incidents that take place in two time periods. In 2010, Sath y a (Ashok Selvan), a college freshman, invites himself to the home of Poorani (Samyuktha Hegde, who does an exc ellent job in a challenging part), a girl he’d been chatting to online. He schemes to get laid while her ‘father’ (Jaya prakash) is out of town. Meanwhile, in 2020, Sathya, who is now a prominent fashion designer, welcomes Leela, an IT employee who has arrived at his door by accident, into his home. Sathya sees this as the ideal time for a on e-night affair because his wife Anu has gone to visit her family with their young daughter.
Venkat Prabhu is one of Tamil cinema’s adventurous filmmakers. That he continues to remain so within the infa mous mainstream is all the more evidence that he’s been successfully adventurous. Because no one else would have dared to make a full-length feature about an unremarkable man’s gaaji (can be loosely and mirthlessly tra nslated to horny), stacking boring events repeating themselves, running in a narrative and visual parallel, across two timelines. In Manmadha Leelai, Venkat Prabhu not only attempts this, but manages not to bungle it enti rel y.After being one of the most eagerly anticipated films in recent memory, Manmadha Leelai will finally be rele ased on Big Screens on April 1. Here are the specifics on the OTT release date, digital rights, and streaming par tnership with a company called Viacom International. Venkat Prabhu alternatively cuts from one night to the next, showing us how these two evenings unfold for his protagonist.
The fluid editing (by venkat Raajen), informed by the competent writing, ensures that this non-linear storytelling is free of jerks, with scenes moving smoothly from one timeline to the next. These scenes are written in such a w ay that they mirror each other, according to venkat Prabhu. Both of these gatherings take place on a rainy night and include drinking and a change of attire. The gaze is obviously male, as it is in adult comedies. Sathya is port ra yed as a predator who deftly manipulates women in order to obtain what he desires – sex. Manmadha Leelai, tho ughtfully captioned “A Venkat Prabhu Quickie”, is the story of Sathya (an unassumingly effective Ashok Sel van) , the aforementioned man who runs around in gaaji. Over ten years, he remains a creep, gets caught in the act in the same silly manner of coincidence, and emerges miraculously victorious by repeating his single unbe lie vable trick. It is as if the prescient director — who shares screenplay credits with Manivannan Balasubamani am — knows that there is barely any substance in his film.
So, he keeps it well under two hours. He also structures it as parallel tracks, self-consciously admitting to the audience that the events are going to repeat themselves. When the intermission came just under an hour, I fou nd myself delighted that we’ll get to the end of it soon. Because in Manmadha Leelai, unlike his meticulously wri tten previous film Maanaadu, the destination is more important than the journey. In fact, the journey itself is fai rly painful. The first half, on the other hand, is more or less a lighthearted romp. When a family member who has been absent returns unannounced in both timelines, the movie reaches its halfway point, keeping us on the edge of our seats, wondering if Sathya will be caught. venkat prabhu maintains the same lighthearted tone throughou t, creating uncomfortable moments in which his protagonist is on the verge of being revealed. And we begin to w onder how the director will tie these songs together, given the wide range of options available to him.
In one of these histories, he even throws us a mouth-watering twist in the middle that turns the screws on his ma in, puncturing his ego. There is barely anything funny or interesting about the first two acts of the film. It is so co mmonplace that you and I are likely to have had more curious encounters. The film grinds on like it is written by college students amused by themselves. The only trick that breaks the monotony is the switch between the two timelines. Even that is squeezed dry, leaving the viewer restless for movement. Premji Amaren’s background sco re doesn’t do much either. At places, it’s especially jarring. Take, for instance, the scene where after a few rounds of drinking, Sathya goes to another part of the house to pour them their next. Then, suddenly, Leela doesn’t resp ond to Sathya’s question from afar. He goes looking for her, during which Premji Amaren fills the scene with om inous music — perhaps expecting us to think she’s been murdered or something. Yet, the obvious follows.
I can say with confidence that no one was fooled by this effort at cheating the audience. Unfortunately, the dir ector, who previously pulled off an even more intricate story with Maanaadu, opts for the well-worn path here. What started out as a suspenseful adult comedy quickly devolves into an unoriginal crime film with a facile conc lusion and predictable surprise. The official digital partner for the film has not yet been announced, although ne gotiations are underway between the film’s producers and Aha and Hotstar; the formal over-the-top (OTT) cont ract has not yet been finalized. After a successful screening on the big screen, the film will be released on the dig ital platform on April 1, 2022, during the EID Weekends. The OTT partner and release date will be disclosed in d ue course. The best of the roles is written for Poorni (a pleasantly surprising Samyuktha Hegde), who is brimmi ng with amusing amorality. The point at which her lies fall apart is the only funny scene in the film.
Without giving too much away, the situation — and the emotional aftermath — in which Sathya finds himself at that point is how Manmadha Leelai should have ended. That’s the adventurous Venkat Prabhu I’d pay money to watch. The gaze is often voyeuristic, as we have come to expect of films that peg themselves as adult comedy. Ci nematographer Thamizh Azhagan uses several shots of Leela’s (Riya Suman) disembodied legs, arms and brea sts to represent Sathya’s horniness. In doing so, the film condones Sathya’s behaviour, making us see the world from his amoral perspective. On the other hand, Manmadha Leelai doesn’t shortchange the women entirely, though. Anu (Smruthi Venkat) isn’t presented as a nagging wife — the film in no way implies that she is the reason for Sat hya’s meandering ways. She isn’t there to invoke sympathy for Sathya, nor does she behave in any manner of sel f-loathing or inadequacy. In that, Manmadha Leelai is no Chinna Veedu.
There have been no discussions about the film’s television and satellite distribution arrangements. Because the picture is an adult comedy, the possibilities of it being shown on television are very slim; nonetheless, if this does happen, the film will be broadcast on television starting in June 2022. Even Leela isn’t written as easy. She is ma nipulative and that’s there for all to see. In fact, when the manipulation is revealed, we distinctly see Sathya as stupid. There are several shots of Sathya cheating on his wife in their bed, with a huge family photo hanging by the bed. Except, in Manmadha Leelai, Venkat Prabhu settles for much much less. Despite the glorious oppor tuni ty, he hangs on to the idea of Sathya as the hero and gives him a dramatically victorious resolution. As a res ult, Manmadha Leelai is an unsatisfying quickie, especially if you’re a woman in the audience. Even if the pain isn’t unbearable, the effort to sit through it is most certainly not worth it.
This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only
Written By- T.H.PRASAD -B4U-Ratting-3 /5 .
