Paiyaa is a sci-fi, fantasy, fiction, super hero subject. Welcome to the world of the protagonist Paruthiveeran Karthi who falls in love with a girl at first sight and without seeking a job, all he has to do is get Thamanna to sit on his lap. Is there any dramatic problem? Oh yes there is! There is a problem that prevents Karthi from getting his dream girl Thamanna!
Bingo! A band of mobile rowdies who is always on the move on a Mahindra Scorpio or some other SUV which is the most preferred car of rowdies along with Tandoori Chicken, Chicken Biriyani, Fried Rice and heaps of other non-vegetarian food.
The story starts off in Bangalore or Bengaluru where there is a Telugu girl(!) and a Tamil guy(!). All of Karthi's friends are Tamils! There are about three or four guys and one girl who stay in the same room(!). They are friends(!). Well there is nothing as shocking as that! But that particular part is well handled by Lingusamy. He portrays them as friends who work in the Software companies in Bangalore.
From then on, there are several twists and turns (a roller coaster ride) that are anything but unpredictable. The moment you enter the theater you are given a blueprint, process flow or a screenplay of the whole story. You are well on your way to witnessing the future of the protagonists. Paiyaa is a real time travel as well as a test to your patience and time, as you have devoted your next three hours to them. You are sure to hold them responsible for the time and money spent on Paiyaa.
Synopsis
Boy (Karthi) meets girl (Thamanna). Boy falls in love with girl. Boy wants to get girl. Girl's family is a band of mobile rowdies. Boy fights with rowdies. Girl hugs boy, voila!
Lingusamy has relied heavily upon action blocks and intentional belly dancing by Thamanna to rake in the audience. Thanks to a deliberate shot that exposes Thamanna's slender flabbiness around her waistline by letting her hop like a Kangaroo! That is one helluva good hip-hop! Oh my! I am helping to shove audience into the theaters!
"Thuli Thuli Thuli Mazhaiyai", "En kadhal Solla", songs share huge compatibility with a commercial film! The songs are merely intended to entertain than to be considered songs of class. Locations are "color correction"ed to be extra green! Location has purely come about as indistinguishable from Indian roads to foreign roads! Lingusamy and his lens man owe big time credit to the National Highways Authority of India who made some investments on Highways which was all aesthetically exploited by the Cinematographer of Paiyaa.
Friends force Karthi to an interview, buy him formal wears which he has never put on before. In the shopping complex, Karthi finds Thamanna and RUNs behind her. Friends send him off to an interview wishing him good luck but he finds the girl exiting the company, RUNs behind her and misses the interview.
The same girl happens to travel with him to Mumbai on a car. Thamanna comes teary eyed as she is going to be married to a guy who she doesn't like. Karthi does the rescue in much of a cool manner fully and exclusively funded by his friends! Karthi reverse gears to escape from those in pursuit of Thamanna on a speeding highway. As he turns around to head the other way, he finds himself chased again by a gang of rowdies. This time, it is not Thamanna who is chased, but it is Karthi who is chased.
Karthi takes Thamanna by surprise as he takes the onslaught on four jeeps full of men at the same time. The reason being that he once had been to Mumbai for an interview and he had beaten down a gang leader and his henchmen to the extent of vomiting blood. The rowdies seek revenge.
Now as the danger is building up, Karthi takes home Thamanna - after a single fight scene - before which the ever fighting and angry Karthi gets purposely beaten by the rowdies until Thamanna is forced into the car by the rowdies. Karthi waits till she is forced into the car and then suddenly gets angry and determined to beat them down - the rowdies fly from inside the car after which the rowdies run for cover.
Friends arrive straight to the spot just yards away from where Karthi was fighting - all the way from Bangalore. Karthi's friends tell Thamanna of his love for her and Thamanna hugs Karthi! Boy, this format is a story of the mid 2005s after which such stories have become extinct. Some of the similar films to Paiyaa are RUN, Gillie and many other films of the past decade.
The purpose of chase sequences and fight sequences are to act as the emotive catalyst! But while imitating Hollywood Films, Kollywood Film Directors miss out on the emotive aspect of the fight sequences, chase sequences and the visual spectacles. Severely lacking in this film is the subtext of the dialogs which do not express or imply an underlining story but speaks fact or what we have already seen on screen or worse, what we are going to see on the screen.
Anonymous characters pop up like pop up messages that block the progression of ourselves on to the next step. Similarly, the screenplay is also studded with such sleaze piece characters who spoil the look of the whole film. Karthi does well on every occasion though reminds us of his two previous films. Yuvan Shankar Raja is a valuable USP to the film. Cinematography and Costumes Design are greatly done for the two protagonists which adds to the beauty of the Cinematography.
Rational Films Rating for Paiyaa: 0.5/5
Paiyaa takes a predictable Highway route to Bombay - a straight road that has no twists and turns!
Thiruppathi Brothers - An interesting incident
I was working on a stop gap job in a Hotel last year during March-April 09. I booked a reservation on behalf of Lingusamy owned Thiruppathi Brothers (the hotel's regular client). The Production Assistant said only one person was going to stay and it was for one day (the one day was not stressed and he made it sound like a formality as I was asking him for the same).
On the reservation date came a GIRL who kept on making phone CALL from the Front Desk. She took the room number reserved by Thiruppathi Brothers. In the Hotel, unmarried couples are not allowed. But a little later without my (or any of our) knowledge came another guy. She spoke nicely to me till then. The night passed and they left around 5 AM the morning after next. While leaving the hotel room, they gave back the keys and said, "We are going for the shoot,"
A few days later the bill showed Rs. 5400 instead of Rs. 2700 which they should have incurred. The Production Manager called up and said, "I told you that the reservation was for only one day. It is not my mistake. So, I cannot pay anything more than Rs. 2700." Finally, the hotel manager told me that I had to bear the cost not wanting to lose a valued customer as Thiruppathi Brothers.
Later, I learned that the couple(?) who stayed in the room were scheduled for a morning shoot and they came in around 8 PM or so and they couldn't have left the room at night since the hotel had a 24 hour check out. So they planned for a morning check out without telling us that it was a check out. That way, they did not have to pay Rs. 2700. Got the story?
The Hotel Management often warned us of possible cheating by the Film Industry's lower cadres. But then they did not want to lose out on a valuable customer and put the burden on me. Guess who came for my rescue? Thiruppathi Brothers! They sent a Production Manager who offered to pay and stressed on the reputation of Thiruppathi Brothers! The mistake was not on the part of Thiruppathi Brothers but on the part of the Production Assistant who feared a debit on his salary.
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