Director Cheran is promoting his romantic Tamil film, Pokkisham (Treasure), in a unique way -- the film's scenes are showcased through interesting postal stamps, suggesting that it's a love story that unfolds through letters.
With the lyrics penned by Yugabharathi, the Sabesh-Murali duo has come up with a lengthy musical score of 11 tracks. We take a look at what the album offers:
First up is the enthusiastically begun Azhagu Mugam Malarnthu, as V V Prasanna's humming gives way to a strong rendition. The lyrics telling listeners to 'live life to its fullest' peters down to a tame and oft-heard tune. It is melodious of sorts but you've heard it before.
Intriguing keyboard arrangements begin Nila Nee Vaanam, sung by Vijay Yesudas. The slow romantic song actually echoes some of S A Rajkumar's songs. It has a mish-mash of instrumental music, including some appealing guitar strains. This is where Chinmayee comes in calling her beloved everything from chaste grammatical Tamil terms to modern endearments. Since the heroine is Muslim, here's the cue for some Arabic music. The song then returns to the letters. If you hear it a couple of times, the idea of reciting letters gets to you, mediocre music notwithstanding.
Anjal Petti begins briskly. Karthik brings to the fore an enthusiastic lover, who jumps with eagerness at the sight of a letter-box and his beloved's letters. The rhythm keeps its crispness throughout but despite the brief piano notes, it's safe to say that the lyrics are the better part of this number.
A burst of rhythmic chanting begins the Bengali Aaj Mone Boleche sung by Ujjayini. It transforms into a genuinely angsty number, perfectly rendered by Vijay Yesudas. It's this section, perhaps, that really illustrates the forlorn unhappy man. It blends into the Bengali pallavi but watch out for the anguished segment; it tugs your heart-strings.
Vijay Yesudas hums melodiously for Ohoho until you realise that it's a combination of yesteryears' classics Thanga Pathakkathin Mele and Mere Sapnon ki Rani. Looks like the composers have been quite 'inspired.'
Ranjani displays her 'breathy' voice in Varum Vazhi Engume, trying to lend credence to the number's angst. The orchestration leading up to the charanam is intriguing, that is, before it slips back into mediocrity.
A sax's precise notes fill your ears in Mundru Naal Aagume, who cares if they remind you of their Anjali? Once again, Karthik does his best to bring a lover's yearning to mind. A creditable effort. Choir music forms a pleasant interlude; the chorus interspersed with sax notes makes for pleasurable hearing. A short but sweet number.
Violins play to a brisk pace as V V Prasanna and Mahathi sing Ulagam NInaivil Illai, and whistled notes usher in a peppy tune. This one is all about the ecstasies of love -- flowers bloom, rainbows arch in the sky and love is painful -- but Mahathi's voice, dwelling on the baser notes, goes a long way towards making the song come alive.
A sombre chorus begins Mozhi Illaamal, a softer, mellow version of Mundru Naal Aagume. Madhu Balakrishnan's voice adds lustre to it. Violins reinforce the emotional feel, which increases towards the end of this pleasant number.
Kanavu Sila Samayam, rendered by the versatile V V Prasanna seems to be a re-worked version of Azhaghu Mugam Malarnthu, with the vocals emphasising on inner turmoil. It works much better.
Siru Punnagai seems to pick up where the previous number left off. This time, a mouth organ adds more layers to the song. And then it leads seamlessly back to Kanavu Sila Samayam.
Considering the romantic genre of the film, the composers have gone all out to produce heart-wrenching numbers with familiar tunes and a potpourri of oft-heard songs. Some of them are pleasing while others aren't. The overall effect strikes you as quite average.
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