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Sila Nerangalil Sila Manidhargal Movie Review by Tamilrockers, Cast and Crew

Sila Nerangalil Sila Manidhargal Movie Review

Sila Nerangalil Sila Manidhargal is an Tamil drama movie written and directed by debutant Vishal Venkat. The movie stars Ashok Selvan in lead role with Nassar, K. Manikandan, Abi Hassan, Reyya, K. S. Ravikumar and Riythvika in supporting roles. The movie produced by AR Entertainment and Trident Arts. The music for the movie is composed by Radhan, with cinematography handled by Meyyendiran and editing done by Prasanna GK

Tamilrockers




Production - AR Entertainment

Direction - Vishal Venkat

Music - Ratan

Performance - Ashok Selvan, Abihasan, Praveen Raja, Manikandan Release

Date - 28 January 2022

Time - 2 hours 20 minutes

Rating - 3.25 / 5


Sila Nerangalil Sila Manidhargal Cast 

  • Ashok Selvan
  • Nasser
  • Abi Hassan
  • Anju Kurian
  • Rithvika
  • Manikandan
  • KS Ravikumar
  • Bhanupriya
  • Reyaa
  • Praveen Raja
  • Anupama Kumar
  • Ilavarasu

Review

There are four storylines in Sila Nerangalil Sila Manidhargal, with every one of the four essential characters being driven by outrage. We have Vijay (Ashok Selvan) sharing a fairly cherishing regardless of whether irritating condition with his dad, Selvaraj (Nasser), and life partner, Malar (Reyaa). There is Rajasekar (Manikandan), a housekeeping leader at a very good quality hotel, baffled with his endeavors not being perceived. A materialistic IT worker, (Praveen Raja), is frustrated with regards to his significant other Kayal (Riythvika) not monitoring how her "effortlessness" influences his status in the public arena. At last, we have a debutant entertainer Pradeesh (Abi Haasan), irritated with regards to living in the shadow of his renowned movie producer father, Arivazhagan (KS Ravikumar). Vishal takes as much time as is needed to familiarize us with the storylines before they all merge in a tragic second. In numerous ways, Sila Nerangalil Sila Manidhargal capacities like the hyperlink form of Netflix's Navarasa. The purposeful pacing in this 140-brief film permits us to sympathize with every one of the narratives and permits the characters the space to go through the nine rasas before they at last discover a sense of reconciliation.

Despite the fact that Sila Nerangalil Sila Manidhargal can measure up to hyperlink films like Super Deluxe and Maanagaram, I see this film being similar to something like Vaanam or the Malayalam film, Traffic. The plots stand on their legitimacy in spite of the successful union, and the choice to have this befuddling of universes right at the midpoint of the film is a savvy choice. After the time we spend understanding the universes of the leads, we see them all unwind consistently.

What truly keeps the film intact, aside from the shrewd composing decisions, is the projecting. Ashok's Vijay and Manikandan's Rajasekar are splendid as two perpetually furious individuals whose activities bring about overpowering culpability. The singular collaboration between these two characters is a treat to see. Nasser is the champion entertainer in a film overflowing with top abilities, and Ilavarasu, in an appearance, matches the previous all around. Unique notice to Rishikanth, who plays Vijay's companion, and experts a job that expects him to be tragic yet not excessively miserable, and irate however not excessively furious.

As the progress from fury to coerce to recovery is more articulated in the tales of Vijay and Rajasekar, the tracks of Pradeesh-Arivazhagan and Praveen-Kayal feel rather underexplored. Vijay and Rajasekar are from the lower-working class layers, while different heroes exist in the metropolitan tip top space. The film also invests more energy in the previous two, and thusly, we comprehend them better. In the last option, we get glimpses and checkbox character characteristics, and, surprisingly, the enthusiastic interest in their predicaments stays shallow.

It is not necessarily the case that those storylines don't have merits. The solid inclination of humor in the Pradeesh-Arivazhagan story (including Anju Kurian in a funny appearance) works, thus does the manner by which Praveen's grandiosity is managed. Vishal's composition (with discoursed by Manikandan) guarantees that we don't outstay on a specific inclination. This aspect is best displayed in the development to the strong stretch square where the grins and tomfoolery get blended with strain and excites. Be it the editorial on the triviality of online media and the determined savaging or the compassion that is looked for characters who take on an inward conflict among dread and self-disdain, the amazing composing digs into an array of feelings, and comes out generally solid.

Sila Nerangalil Sila Manidhargal is capably upheld by Radhan's music, regardless of whether there are times when the foundation score gets excessively coercive, and Meyyendiran's cinematography which catches South Chennai in its normal brilliance. Prasanna's altering that deals with the various storylines, is a strength as well.

Sila Nerangalil Sila Manidhargal has a great deal letting it all out regardless of whether there are a couple of stumbles en route. As the credits rolled, and the tears evaporated, I felt that the film accomplished its motivation of reminding us to partake in the little delights in our day to day existence, say our statements of regret, and carry on with our lives somewhat more ethically, before it is past the point of no return. Likewise, this film is an illustration of the ability Tamil film has available to its; hopefully then that they also get very much used before it is too late.There are four storylines in Sila Nerangalil Sila Manidhargal, with each of the four essential characters being driven by outrage. We have Vijay (Ashok Selvan) sharing a fairly adoring regardless of whether enraging condition with his dad, Selvaraj (Nasser), and life partner, Malar (Reyaa). There is Rajasekar (Manikandan), a housekeeping leader at a very good quality retreat, baffled with his endeavors not being perceived. A materialistic IT worker, (Praveen Raja), is exasperated with regards to his better half Kayal (Riythvika) not monitoring how her "straightforwardness" influences his status in the public eye. At long last, we have a debutant entertainer Pradeesh (Abi Haasan), maddened with regards to living in the shadow of his well known movie producer father, Arivazhagan (KS Ravikumar). Vishal takes as much time as is needed to familiarize us with the storylines before they all unite in a tragic second. In numerous ways, Sila Nerangalil Sila Manidhargal capacities like the hyperlink variant of Netflix's Navarasa. The conscious pacing in this 140-short lived film permits us to identify with every one of the accounts and permits the characters the space to go through the nine rasas before they at last discover a sense of harmony.

Despite the fact that Sila Nerangalil Sila Manidhargal can measure up to hyperlink films like Super Deluxe and Maanagaram, I see this film being much the same as something like Vaanam or the Malayalam film, Traffic. The plots stand on their legitimacy in spite of the compelling combination, and the choice to have this jumbling of universes right at the midpoint of the film is a savvy choice. After the time we spend understanding the universes of the leads, we see them all disentangle consistently.

What truly keeps the film intact, aside from the savvy composing decisions, is the projecting. Ashok's Vijay and Manikandan's Rajasekar are splendid as two perpetually furious individuals whose activities bring about overpowering responsibility. The singular connection between these two characters is a treat to see. Nasser is the champion entertainer in a film overflowing with top gifts, and Ilavarasu, in an appearance, matches the previous inside and out. Extraordinary notice to Rishikanth, who plays Vijay's companion, and pros a job that expects him to be pitiful yet not excessively dismal, and furious however not excessively irate.

As the progress from fury to coerce to recovery is more articulated in the tales of Vijay and Rajasekar, the tracks of Pradeesh-Arivazhagan and Praveen-Kayal feel rather underexplored. Vijay and Rajasekar are from the lower-working class layers, while different heroes exist in the metropolitan tip top space. The film also invests more energy in the previous two, and thusly, we comprehend them better. In the last option, we get glimpses and checkbox character characteristics, and, surprisingly, the enthusiastic interest in their predicaments stays shallow.

It is not necessarily the case that those storylines don't have merits. The solid propensity of humor in the Pradeesh-Arivazhagan story (highlighting Anju Kurian in a humorous appearance) works, thus does the manner by which Praveen's pretentiousness is managed. Vishal's composition (with exchanges by Manikandan) guarantees that we don't outstay on a specific inclination. This aspect is best displayed in the development to the powerful span block where the grins and tomfoolery get scattered with pressure and excites. Be it the critique on the triviality of online media and the determined savaging or the sympathy that is looked for characters who take on an inward conflict among dread and self-disdain, the noteworthy composing dives into a range of feelings, and comes out generally solid.

Sila Nerangalil Sila Manidhargal is capably upheld by Radhan's music, regardless of whether there are times when the foundation score gets excessively coercive, and Meyyendiran's cinematography which catches South Chennai in its normal brilliance. Prasanna's altering that deals with the different storylines, is a strength as well.

Sila Nerangalil Sila Manidhargal has a ton making it work regardless of whether there are a couple of stumbles en route. As the credits rolled, and the tears evaporated, I felt that the film accomplished its motivation of reminding us to partake in the little delights in our day to day existence, say our conciliatory sentiments, and carry on with our lives somewhat more ethically, before it is past the point of no return. Likewise, this film is an illustration of the ability Tamil film has available to its; hopefully then that they also get all around used before it is past the point of no return.



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