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They demand that he comes down in person and answers their queries, which he does. The duo goes job hunting, loses their jobs, falls in love, but can't marry, and then, one fine day, gets thrown out of their mansion.įrustrated and depressed beyond belief, they yell and scream at God, calling him names.
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Each character is a pleasure to watch.Īll these people and then some provide you with the substance required for the story which is about Mokkai and Raasu, who live on other people's charity. Then there is the elderly government servant who counts his days 'Lord Wellesley' who has a fixation about Buckingham Palaces engineer Rafeeq ( Thalaivaasal Vijay), a miser Thanjai Rudhran (Rajesh), a confirmed atheist Giri (Hanifa) a tea stall owner and Madaswamy, the mansion's manager (M S Bhaskar), a kindly but frustrated man who is always after our heroes for the month's rent. We are introduced to a host of players including Mokkai Saami (Kanja Karuppu) and Raasu (Santhanam). manages to throw open the doors in a very engaging fashion by first telling us that there are two 'Paal Veethis' (a pun on the Milky Way galaxy and the Paul Street in Triplicane).Ĭharacters are introduced via freeze-frames and photographs, cutting through intensely personal details in a flash. Though you may have seen Chennai's hectic and remarkably raggedy mansion-life in many movies before this, yet Arai. If Imsai Arasan 23am Pulikesi showcased a nutty king in the British Raj, then S Pictures' Arai En 305il Kadavul directed by uber-creative Chimbhudevan has managed to display a modern God who speaks English. And this holds true for the Tamil film, Arai En 305il Kadavul (God in Room No 305). It is a mix of contemporary western and the traditional Indian music.Īll credit to Sabesh Murali for coming out with a different stuff.They say good packaging is half the work done. Obviously Pulamai Pithan's lyrics do the magic. It is a song that arouses patriotism and vigour among youths. A tailor-made voice for such songs, Maharajan is in his elements in this heavy number.
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Pleasant music and soft romantic lyrics accompanied by Naresh Iyer's voice resembling that of P B Sreenivas, it is yesterday once more for us.īack after a long gap is T L Maharajan. Swarnalatha deserves a special mention for her blazing style of singing.Ī soft number which takes us back to those golden days of P B Sreenivas and A M Raja. Sabesh Murali seem to have taken pains in getting those musical instruments used in historical movies before. With a strong rural lilt and tilt, the song has tablas and dholaks used to the maximum, uplifting it to a fluffy high. Krishnaraj is back after a long gap to take off from where he had left. Panju Methai Kaniyae (Krishnaraj, Swarnalatha) Lyrics by Pulamai Pithan, a veteran for over five decades, takes us back to the MGR and Sivaji days. The sound of horse galloping throughout the song is a special attraction. Seemingly a mass song, it begins in the form of opera and goes on to stick to a rhythm. The soothing jathi and swaram in between, and the gaggle of voices all add to the listening pleasure. Sabesh-Murali then ring in the 50s-60s era through some inspired instrumentation. Kovai Kamala, re-creating the golden voice of K B Sundarambal begins the song with her typical open-throated approach. Pulamai Pithan, who penned songs for MGR and Sivaji, is back for Imsai.Īah Adi Va (Manicka Vinayakam, Binny Krishnakumar, Saindhavi, Kovai Kamala and Vadivelu) Music director Sabesh Murali have an onerous task of finding the right tunes to fit the story.īinny Krishnakumar, T L Maharajan, Krishnaraj and Swarnalatha have done their part well. A laugh-riot, music holds the key in such films. The movie being produced by director Shankar on behalf of his S Films features Vadivelu. Hence the debutant director seems to have taken great care in choosing the right set music director, singers and the lyricist. Imsai Arasan has the rare distinction of being the only historical movie in Tamil with humour at its core.