em magan
em mahan review. em mahan tamiw movie review, story, rating
em - magan showcases how a family should be in today' s times .
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em magan movie rating is 64 / 100 based on reviews submitted by 20 users .
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the fiwm was initiawwy titwed emtan magan, however de titwe was shortened to em magan to expwoit de tamiw nadu government' s ruwe of entertainment tax exemption for fiwms wif tamiw titwes. [ 2 ]
of late, small films with lesser - known heroes have begun to fare well at the box office. one such example is emdan magan (renamed em magan for tax benefits) with bharath and nasser in the lead .
family sentiment em magan essentially deals with the emotions and sentiments running riot in a big family. thirumurugan weaves his story around a strict father who raises his son in a regimental manner .
and third, some good comedy delivered mostly by singampuli as ondippuli, the uncle. his character has heavy shades of vadivelu' s in em magan. there are a lot of “maappu - aappu” jokes, besides some original stuff .
manchán magan is a writer and documentary - maker. no béarla 2 begins on tg4 on mar 28. urltoken
thirumurugan, the successful director of the mega serial ‘metti oli’ is opening his innings in the silver screen with em magan. the movie originally titled emttan magan hits the screen with a slight change, thanks to the cm’s rebate on tamil titles. refined approach has made the tamil film industry to have their titles in tamil. here is the case of rod being spared and the child being saved .
em magan box office collection reports are taken from various sources and our own research. the collection amount value can be approximate and cinemaprofile does not make any claims about the authenticity of the data. however, they are adequately indicative of the box - office performance of the film (s) .
emdan magan is produced by satya jyothi films and directed by m thirumurugan of the popular television show mettioli, which has completed 350 episodes .
em magan is a 2006 tamil family drama film, directed by thirumurugan and produced by satya jyothi movies. this film stars bharath, gopika, nassar, vadivelu, saranya ponvannan in the lead role. the film' s soundtrack and background score were composed by vidyasagar with lyrics by na. muthukumar, pa. vijay, yugabharathi, kabilan, baskar sakthi
bharath, who is making his hindi debut with
jackpot
, co - starring sunny leone, sachin joshi and naseeruddin shah, began his acting career in 2003 with
boys
. he then starred in some of the hit films including
4 the people
,
kaadhal
,
em magan
,
veyyil
and
vaanam
.
the most striking aspect of the movie is there is no hero or heroine tag that can be spotted in the movie. the plot has all characters and supporting characters all on place. the movie speaks loudly on handling emotions. if correct, this movie changed its title to em magan from emden magan to avail tax benefits. emden was a light cruiser built for the imperial germany navy and the captain of emden was responsible for bombardment of madras during first world war. few oil tanks were torched when british taught madras can’t be touched, oil tanks exploded here to their disbelief .
best actor: kamal haasan (vettaiyadu vilaiyadu), best actress: priya mani (paruthi veeran), best actors (special): karthi (paruthi veeran), fakru (dishyum), sandhya (dishyum), best villain: pasupathi (e), best comedian: vadivelu (pulikesi), best director: thirumurugan (em magan), best music director: yuvan shankar raja, best playback singers: madhu balakrishnan and shreya goshal .
wrote
muniyandi vilangiyal moondram aandu on the whole is a positive experience, and quite different from em magan. the focus shifts from family to love and rivalries. thirumurugan, who was a favorite with the women in the audience for serials and movies laced with sentiment, has gone in for a bit of a change. this does not mean that this movie is not for the family. it just means that the director has kept a tab on the proceedings and prevented any element from going over the top .
sathya jyoti films and sathya movies together devote another hit to the tamil film industry - em - magan, a movie based on family values which exhibits real life issues in a superb way. nasser plays the role of emtton who owns a general grocery shop. his son krishna (bharath), a young college boy also takes care of the shop. emtton is an arrogant man. his wife, daughter and son are afraid of him and follow his instructions without any arguments. he wants his son to dedicate his time to the shop rather than his studies .
gopika, who was bharath' s heroine in jayaraj' s 4 the people, is his heroine again in emdan magan. lajjavathiye, the song pictured on both of them, was a rage in kerala, and it was this film that catapulted bharath into a solo hero .
listen to the romantic song unnoduthan ini sung by tippu and subhiksha from the super hit film en magan. cast: bharath, gopika, nassar music: vidyasagar lyrics: bhaskar shakthi director: thirumurugan producer: sathyajothy thyagarajan release: 7 september, 2006 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
another film of his also was launched last week: emdan magan, which means emdan' s son. veteran actor nasser plays emdan, who runs a provision store in a small town. emdan' s son is krishna, played by bharath. emdan' s wife and krishna' s mother is saranya, who gave a very touching performance in raam .
listen to the romantic song purinchiricha purinchiricha sung by stephen devassy and george peter from the super hit film en magan. cast: bharath, gopika, nassar music: vidyasagar lyrics: bhaskar shakthi director: thirumurugan producer: sathyajothy thyagarajan release: 7 september, 2006 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
she won the prestiguous national film award for the best actress for the film, thenmerku paruvakaatru in 2011. saranya made her debut in a lead role in mani ratnam' s nayagan and went on to play lead roles in few films during the late 1980s. following an eight - year sabbatical, she returned to feature films as a character artiste, essaying supporting characters, particularly portraying the mother character to lead artists. for her performances in films including raam (2005), thavamai thavamirundhu (2005), em magan (2006) and kalavani (2010), she has received notable critical praise and several accolades, including two filmfare awards for best supporting actress. she also won national film award for best actress for the year 2010. she is married to a fellow actor, ponvannan .
listen to the dance number varaaru varaaru yaaru varraaru sung by mohan, murali and chandran from the super hit film en magan. cast: bharath, gopika, nassar music: vidyasagar lyrics: kabilan director: thirumurugan producer: sathyajothy thyagarajan release: 7 september, 2006 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
listen to the romantic hit song koligundu kannu featuring bharath and gopika and sung by madhu balakrishnan from the super hit film en magan. cast: bharath, gopika, nassar music: vidyasagar lyrics: yugabharathi director: thirumurugan producer: sathyajothy thyagarajan release: 7 september, 2006 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
listen to the romantic hit song kalloori genaration sung by vijay yesudas and timmi from the super hit film en magan. cast: bharath, gopika, nassar music: vidyasagar lyrics: pa vijay, arjun director: thirumurugan producer: sathyajothy thyagarajan release: 7 september, 2006 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
emmtan - magan movie tells emtan (nassar) who runs a provision shop in a village. his son krishna (bharath) who is a student of poultry science, helps him in the shop. a strict father emtan is always at his son' s back. his strict ways of dealing his son leaves an uncomfortable scene in the house. vadivelu (krishna' s uncle) is the only solace for him in the house. krishna meets his childhood crush janani (gopika) who is the daughter of his uncle (shanmugarajan). both their families are at loggerheads. a death in their family brings them together. unfortunately krishna and janani are ...
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women factor thirumurugan has capitalized his affinity with the women audience to the fullest. the film is sure to bring the ladies to theatres. to satisfy them, the movie revolves around family relationships and the problems and happiness arising out of such situations. family melodrama is surely the pick of women and the director knows the pulse .
needless to say, nasser has assayed his role perfectly. the reasons for nasser’s stringent behaviour and how he transforms finally has been clearly dealt with .
family brawl saranya as nasser’s wife has utilized the opportunity completely. she comes across as an understanding mother who is torn between her husband and her son. during a village function, when nasser hits at his saranya, saranya’s brother unable to tolerate this act of primitive behaviour picks up a quarrel with nasser and the two families’ part their ways taking a vow never to have any links in future. but when saranya’s father passes away, bharath comes to his maternal uncle’s house and picks up the strings of love with his cousin gopika. nasser catches them off guard at an uncompromising situation and vows to separate them .
rest of the movie proceeds with how bharath - gopika duo are withstanding their parental oppression and leading their life. finally, of course the two families unite much to everyone’s relief .
music / comedy track ‘purinjirucha’ by muthukumaran and ‘goligundu kannu’ by yuga bharathhy are noteworthy. comedy track has been taken care of vadivelu who has not failed in his duty. the scene where he advises bharath on getting beaten up speaks for itself .
director has ensured that the producer recovers his money. a family melodrama well enacted. thirumurugan is sure to continue his winning streak in kollywood also .
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it is a good family emotional drama which is a must watch for all class of audience, especially in this age of generational differences .
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krishna' s college mate dhivya (gajala) offers him a job at his father
. s office but krishna refuses, as he loves his family a lot .
karupatti (vadivelu) respects krishna' s feelings and always supports him in his tight corners. krishna' s grandfather' s death brings a turning point in the movie. emtton and his family leave for the village to attend the final ceremony of his grandfather. after a span of 10 years, krishna meets his cousin janani (gopika) and their love get refreshed. however, both families get to know about their love and oppose their love which results in a fight between families. in a bad mood. emtton moves returns to the city. janani hides in the car without anybody noticing. but when emtton reaches home, he discovers janani as she gets out of the car. he thinks that krishna has brought her to the city, does he accept their love? watch the movie to see as to what happens to their relationship .
bharath' s performance, both as a obedient son and a faithful lover, is magnificent. the great comedian has also played well in the supporting role of karupatti. nasser, as emtton, has played a different role and reaches new heights in acting. gopika' s acting as a true love and the way she is ready to do anything to win her love is astounding. other cast members like saranya and shanmuganathan have also delivered their roles with perfection .
director m. thirumurugan and his group have done a great job delivering an excellent movie reflecting family values and true love. vidhyasagar has given exceptional music, which should contribute to the movie' s success. his song
kolli kuntu kanna padal
is one of the hit songs of the movie. the producer of the blockbuster hits munraam pirai, killaku vasal and parthiban kanavu, t. g. thiagarajan has produced this movie in accordance with the current family trends .
cast - bharath, gopika, nasser, vadivelu, gajala, saranya, shanmugarajan. banner - sathya jyothi films story, screenplay, direction - m. thirumurugan producer - t. g. thyagarajan cinematographer - sevilo raja editing - m. jaykumar music - vidhyasagar arts - kathir dialouges - bhaskar sakthi pro - nikil murugan date of release - 7th september, 2006
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so far we' ve had directors and actors move from the big screen to the small screen .
megaserial on sun tv. thankfully, he has brought with him, only the better aspects of the megaserial as the film features strong, realistic characters dealing with matters of the heart in an intimate, family setting. if he had been as successful in creating and handling the movie' s key conflict, his transition could have been called a really successfully one. as it stands now, it is a good start but there is a lot of room for improvement .
tirumalai (nasser), a store owner, is referred to as emttan by everyone who knows him because of his sharp tongue and short temper. krishna (bharath), his son, is a poultry science student who also helps him around the store. though krishna is a disciplined, obedient boy, tirumalai is very strict with him, often insulting him. tirumalai is at loggerheads with his wife' s (saranya) family and forbids anyone from as much as seeing them. but when his father - in - law dies, his whole family visits them and krishna meets janani (gopika), his uncle' s daughter, after 10 years. but both tirumalai and janani' s father are opposed to the young couple' s union .
is a character - based movie in that it relies more on its characters than its story to engage our attention. thankfully, it has characters who seem real and are strong enough to hold up the film. we' ve seen far too many movies with an unruly son clashing with his dad, who is soft and trying to correct him. here the roles are reversed as we get a strict father and a son who dares not cross the line set by his father and that sets a different tone for the film. but the dad here is not bad since its his own difficult childhood that has shaped him to be the man he is and he wants nothing but good things for bharath. so the character has to walk a tough line but the director pulls it off .
megaserials are known for the copious tears their characters shed since they thrive on their characters undergoing difficulties. coming from such a background, it is surprising that thirumurugan is able to mine humor out of the most unlikely of situations. here its not just bharath that nasser is strict with and anybody who dares cross his path is verbally and / or physically abused. but with characters like saranya and vadivelu at the receiving end, the director manages to subtly inject humor into the proceedings. even more surprising is the humor he extracts out of a person' s impending death. as gopika' s grandfather is on his deathbed, the attitudes and comments of the relatives end up being very funny .
the film makes us wait too long for the conflict. with a dictatorial father and an obedient son who is in love with a girl the father will not approve of, we know that the movie will revolve around a conflict between them. but instead of getting to the issue quickly, the movie tests our patience as it stretches other sequences. the initial slowness is understandable since it allows for character - building. but the director' s reluctance to get to the issue even after setting things in place (by getting nasser and bharath to gopika' s house) is a little disappointing. there are a few false climaxes and so the issue, when it finally breaks, is not as rousing as it should have been .
but as the director goes about laying out the results of the conflict, we understand why he took so long to get to it. its because he does not have a way of resolving it interestingly. once bharath and gopika set out on their own, the movie takes the easy way out of most things. a couple of developments do make us appreciate the screenplay that set things up earlier in the story but the proceedings, for the most part, lack fire. the director opts to go the vikraman route with positive happenings and feel - good, simple solutions to problems and so everything seems rather low - key .
bharath seems to be maturing into a very good and natural actor. he is able to express a lot of emotions with his expressions and body language and generates sympathy for his character. nasser gets a role that makes full use of his piercing stares and rough voice. he is very convincing in the role and relishes the chance to play a fully - realized character instead of the half - baked two - dimensional villain roles he usually gets. gopika looks as homely as the role calls for and has good chemistry with bharath while gajala is wasted in a throw - away role. saranya, as always, is able to generate laughs with her slightly whiny voice while vadivelu shines in a role with equal opportunity for both comedy and sentiments. vidyasagar comes up with a nice melody in unnodu thaan... .
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emtan (nassar) runs a provision shop in a village. his son krishna (bharath), a student of poultry science, helps him in the shop. a strict father emtan is always at his son' s back. his... see full summary »
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we say we want to protect our native language, yet we learn little in school and few of us speak it at home. do we truly cherish irish - or are we subconsciously trying to kill it ?
last year i made a television series called no béarla, in which i travelled around ireland trying to speak only irish. i didn' t get on very well, especially in dublin, where i was often abused and ignored. outside the capital, people were more friendly, but they rarely understood what i was trying to say. what struck me most were the expressions i saw in people' s eyes: shame, fear, anger, jealousy and yearning. i wanted to know what lay behind this complex cocktail of emotion, and so this year i set out again, hoping to explore the issue more deeply, to find out how irish people really feel about their language and what they want to do about it .
i decided to start with the mystery of how we all can learn irish for 10 years in school and still come away not speaking it. i wondered was there a psychological block rooted in the shame of our former poverty that prevented us. to test this, i taught an irish lesson to a group of polish people and an irish group and then examined them on it. the results were startling: the irish, de - spite their 1, 500 school irish lessons, fared only 10 per cent better. either the poles were extremely clever, or the language isn' t that difficult .
to test this further, i brought some irish people to a hypnotist to see if we could bypass their shame and hang - ups to reach the well of language that must lie dormant inside them. and the moment they were relaxed the language did begin to surface .
of course, these experiments weren' t very scientific - i was making a television series, not a clinical study - but they did hint at why people reacted so strongly, positively and negatively, to my trip around ireland last year speaking only the
first official language
. people wrote to me from all around the world thanking me for highlighting the problems the language was facing, but in dublin i was accosted and accused of setting the language back a generation by my negative reporting .
they denied there was any problem and so, just to clarify the issue for them, i went to an irish university and gave the students a test to see if they could differentiate irish from klingon (the language created for star trek). they failed to tell the difference in 30 per cent of cases .
everyone i met blamed the problems on someone else, principally on the schools, but when i went to speak to the woman who teaches the teachers she cited studies that prove that education alone cannot revive a language. unless irish people decide to speak irish outside school, its future is grim .
the only person who was prepared to admit that the fault may lie with all of us was the social commentator, john waters, who suggests that we may all be subconsciously conspiring to kill the language - we claim we want our children to learn it at school, but we make no effort to foster it at home. in this way we can be sure of its death, yet our hands will be seen to be clean .
the issue is so thorny that after a few weeks my head was spinning with all the double - speak and deception people were feeding me. the government claims it supports irish and fought to have it recognised as an official language of europe (for the four irish meps who can actually speak it), yet the standard of teaching aids it provides is so poor that the eu had to order the government to publish a proper grammar book, one that was not out of date or out of print .
donna wong, a californian woman of chinese extraction, had to produce her own learner' s guide to irish (cois life, 2004) because she could find nothing suitable available in ireland. what does it say about us when foreigners have to write our textbooks for us ?
the irish film board claims that it actively supports the language, yet, while the welsh film board has supported 87 films in welsh, our film board has funded only one irish - language film. they claim it' s not practical to use irish when competing against major hollywood films, yet ned dowd, a hollywood producer, points to the success of his film, apocalypto, with mel gibson, which was in mayan. , and also that gibson' s previous film, the passion of the christ, was in aramaic and earned hundreds of millions of dollars .
some people say the dialects are at fault - there are at least four main ones and two more have developed recently in dublin and belfast. it is said that they fragment the language and provoke irritation among people of other dialects - i' ve been told on occasion in donegal to stop speaking my cac - gaeilge caighdeánach (shit, official irish) when i try to converse with them in my kerry dialect .
to test the effects of dialects on people, i strapped headphones onto some native donegal speakers, subjecting them to a sustained assault of intense munster irish for prolonged periods and, to my surprise, found that it sent their iq levels soaring .
so, what does that say? that we should have more dialects? others blame the gaeltachtaí for not being open to learners. visitors say they get either dismissed or sniggered at when they try to speak a few words to the locals. to put these claims to the test we wired some native gaeltacht people to a polygraph machine and asked them how they treated irish learners, and it seemed that either they were always unfailingly polite or polygraph machines cannot in fact discern the truth. i suspect the latter might be the case, although des bishop' s series shows that connemara folk are welcoming, at least when a camera crew is around .
everyone i met had a different recommendation as to what to do about the language, but none were really practical. a former language activist, who stormed news studios and scaled broadcasting aerials to gain recognition for irish in the 1970s, said my single biggest duty was to raise children with irish, and if i didn' t have any, to go out and spawn some and start raising them as gaeilgeoirí .
others said we had to ban the language, as franco did with catalan, with the result that it is now a thriving language spoken fluently by 100 per cent of its political representatives (as opposed to the 13 per cent of irish politicians who speak irish). i talked to a former h - block prisoner in belfast who had learnt irish during the 1970s, long before it was finally recognised as an official language in the north (as part of the 1998 belfast agreement). he told me how the inmates shrunk the christian brothers grammar book so that it could be sneaked into prison hidden up their bottoms. without any lessons, or even access to pen and paper, the inmates managed to learn fluent irish within a year. new vocabulary was passed between them by gouging words into the cell walls using the crucifix on their rosary beads, so that when they were moved between cells a fresh store of words awaited them .
irish is now thriving in parts of nationalist belfast. it is considered a mark of identity, spawning its own newspapers, radio stations and schools .
the man who almost single - handedly revived manx (the native language of the isle of man), brian stowell, believes that the biggest problem with irish now is that it is compulsory in schools .
he managed to change what the collins dictionary defines as
an almost extinct celtic language
to a thriving one, by giving people in the isle of man the choice of whether or not they wanted to learn it. he said one of the greatest assets in helping the language was the fact that the last native speaker had died, and with him went the attitude that it was somehow shameful or backward. using my munster irish, i was able to speak to young children on the isle of man, who had no difficulty understanding my cac - ghaeilge, despite the fact that i was speaking not just a different dialect but a different language. the language, for them, wasn' t a badge of shame. they were eager and proud, and were keen to communicate with their celtic cousins. that' s all it requires, for us to be eager and proud .
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this movie was released in the year 2006. written and directed by ‘ metti oli ‘ pugazh director thirumurugan. he is a director who captures raw emotions. ‘metti oli’ serial is an example where he showed all possible emotions through all his characters well. this movie doesn’t have any less emotions on screen. music by vidhyasagar. staring bharath, gopika, nassar, saranya ponvannan, vadivelu .
the movie has many comedy scenes. grandfather in death bed but family in the verge of losing the patience in taking care of him. this seem inhuman but the director has carefully threaded in a way that it doesn’t influence much and masks behind emotions and comedy. and this man steals the show in all frames that he is in. vaigai puyal vadivelu. he is one character in the movie who keeps unloading his emotional baggage, hurt inflicted by nassar then and there with a sound sense of humour. a sensible role and awesome performance by vadivelu. while there is no specific hero tag in the movie, vadivelu can be termed as real hero in the movie .
in short the movie captures raw emotions and navigates through all of them and teaches what to do and what not to do and how to act from the point of love and react from the point of empathy rather being sharp tongued with all, all the time .
believes that
an investment in knowledge pays the best interest .
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in ornate lettering, “isaignani ilaiyaraja' s sengathu bhoomiyile” flashes on screen, a tribute to the music maestro. the story goes that ilaiyaraja was moved to tears by the climax of the film and wrote a song ‘en usuru enna vittu', which ‘would echo in the hearts of the audience all the way to the parking area'. i admit i fell for this prelude. this is one of the three reasons i won' t word - punch this movie right away .
the second reason is the earthy flavour director ratnakumar manages to convey in this rustic narrative. he serves you typical slices of madurai. a case in point is the ‘oppari' in the latter half of the film. the music, camera and editing, till then quite parboiled, go to work for this one scene .
the fake props, puffy eyes and bad lighting only reinforce what ratnakumar said after the screening — that he had to make do with minimal resources. but he has skimped on the story too .
there' s the affluent, money - minded ‘ santhai' mayi, who manages santhais village fairs. vellai pandi plays the role well, carrying off the heavy jewellery with aplomb. his brother in - law is malaichami, a person of integrity, who toils to make ends meet. azhagan thamizhmani tries to bring a saintly air to his character, but comes through as snooty .
mayi thinks malaichami is naïve, while malaichami thinks mayi lacks character and frowns on the santhai business. they each have a son and a daughter, two couples on a double date all through the first half. vendetta is born of rivalry in the santhai, family blood is spilled, and relationships go downhill. is there no end to the violence? can the broken hearts be salvaged? can love prevail in sengathu bhoomiyilae (sb) ?
ratnakumar clearly wasn' t looking to make this a nail - biter, plot - wise. one very nice touch is the quick, comic, plot summary by singampuli, as if telling you that the silliness of the story (based on true events, he said) isn' t lost on him .
for a movie written by the same man who wrote karuthamma and kizhakku cheemayile, sb has surprisingly insipid dialogue. the actors have to make do with a boxful of clichés. and, unable to take sides, ratnakumar ends up diluting his characters .
‘mirchi' senthil plays malaichami' s son chinnasami. senthil' s small screen experience has given him a more than adequate repertoire of expressions and the ability to deliver sappy lines with sincerity. pavan plays vallarasu, twirling his moustache for his lady love in the first half, and alternating between confusion and rage in the second .
stalin as bose, mayi' s nephew, is impressive in his belligerence. his tongue - biting, aruvaal - toting ferocity is convincing .
priyanka, as vallarasu' s sister and chinnasami' s girl, has one nice rebellious scene with her brother in the second half. unfortunately, she also delivers a long monologue later. sunu lakshmi looks adequately lost as vallarasu' s love interest. she gets to sashay to music more than priyanka does .
singampuli has to carry the movie and the burden shows in many scenes, where he lapses into gibberish .
the music is nothing to write home about. the background score is jerky and often arbitrary. it sounds like a template of ilaiyaraja' s .
storyline: violence ruins family ties. will tears and tragedy bring about a change of heart? bottomline: a bit of man vasanai
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irandam uzhgam - best love scene, best bgm, selvaragavan, arya, anushka .
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it was remade in kannada as
pudra
wif diganf. [ 1 ]
thirumawai (nasser) owns a provision store in a viwwage and wives wif his famiwy comprising his wife (saranya ponvannan), broder - in - waw karupatti ayyakannu (vadivewu), son krishnan (bharaf) and a daughter. thirumawai is very strict, short tempered and is referred as
emden
by his rewatives. krishnan studies pouwtry science in a cowwege and awso assists his fader in managing de store. krishnan worries about his fader’s rude behaviour towards him .
divya (gajawa) is krishnan’s cwassmate and she is awso de daughter of de auditor who manages thirumawai’s accounts. divya proposes to krishnan, who does not reciprocate as he woves his maternaw uncwe’s (shanmugarajan) daughter, janani (gopika). but enmity prevaiws between thirumawai and his in waws’ famiwy. krishnan wives wif de hope dat de two famiwies wiww unite someday paving de way for his wedding .
thirumawai’s fader - in - waw (ennada kannaya) passes away and de two famiwies come to tawking terms forgetting de enmity during de condowence. krishnan feews excited waiting to meet janani after so many years. janani awso reciprocates de same feewing towards krishnan and bof wove each oder. one day, krishnan is tempted to kiss janani when dere is power cut. but power comes suddenwy and de entire famiwy spots krishnan kissing janani .
thirumawai and janani’s fader get furious seeing dis. cwash erupts between thirumawai and janani’s fader upon bwaming each oder for de incident. thirumawai beats up krishnan and takes his famiwy back home. but janani secretwy hides in de car boot and comes awong wif dem to krishnan’s house. seeing dis, thirumawai gets even more furious and sends bof krishnan and janani out of home .
krishnan marries janani and meets divya’s fader and reqwests to hewp him find a job as he has now compweted his cowwege degree. krishnan successfuwwy secures a job in a pouwtry farm wif de hewp of divya’s fader. krishna works hard and his career progresses weww. his wifestywe improves. one day, thirumawai needs de signature of his son krishnan as he wanted to seww a property and he goes to meet krishnan, uh - hah - hah - hah. thirumawai feews happy seeing his son in a good status but returns widout expressing his happiness .
krishnan comes to meet his fader wif an awwiance to be seen for his sister. an emotionaw conversation happens between dem where krishnan expresses his feewing. janani gives birf to a baby and a function is organized by krishnan at his home for which he invites his parents. in de end, thirumawai overcomes his ego and expresses his happiness seeing his son’s growf and finawwy unites wif him. the movie ends showing de famiwy weading a joyfuw wife togeder .
this was de debut venture of tewevision director thirumurugan in cinema who made de successfuw series metti owi .
the movie received positive reviews from crititcs. many critics praised de performances of de wead cast and nassar and saranya' s performances were praised as weww. many praises were awso speciawwy given to vadivewu who shines in a rowe wif eqwaw opportunity for comedy, character and sentiments .
behindwoods wrote ,
the director has ensured dat de producer recovers his money. a famiwy mewodrama weww enacted. thirumurugan is sure to continue his winning streak in kowwywood awso .
. [ 3 ]
urltoken wrote ,
the director has made very good debut into de big screen, uh - hah - hah - hah. the story and proceedings are very naturaw and produces intense feewings. the famiwies and women fowk might turn up in good numbers for de fiwm. some care couwd have been spared to de wengf of de fiwm which seems a wittwe too much. it is a good famiwy emotionaw drama which is a must watch for aww cwass of audience, especiawwy in dis age of generationaw differences. bof ewders who brag about irresponsibwe youf and youf who suwk about audoritative ewders have to watch dis fiwm .
. [ 4 ]
oneindia wrote ,
director m. thirumurugan and his group have done a great job dewivering an excewwent movie refwecting famiwy vawues and true wove .
[ 5 ]
sify wrote ,
thirumurugan has extracted speww - binding performance from his wead actors and supporting cast. [. . ] at a time where many movies seem to speak from deir wawwets, here is one dat speaks from de heart .
. [ 6 ]
indiagitz wrote ,
at a time when commerciaw cwiches are howding sway, de director has tried his wuck wif emotions and sentiments. the story is set in an average middwe - cwass famiwy and de strengf of de director wies in getting de specifics right and reaw .
. [ 7 ]
bawaji bawasubramaniam of urltoken wrote ,
bharaf seems to be maturing into a very good and naturaw actor. he is abwe to express a wot of emotions wif his expressions and body wanguage and generates sympady for his character. nasser gets a rowe dat makes fuww use of his piercing stares and rough voice. he is very convincing in de rowe and rewishes de chance to pway a fuwwy - reawized character instead of de hawf - baked two - dimensionaw viwwain rowes he usuawwy gets. gopika wooks as homewy as de rowe cawws for and has good chemistry wif bharaf whiwe gajawa is wasted in a drow - away rowe. saranya, as awways, is abwe to generate waughs wif her swightwy whiny voice whiwe vadivewu shines in a rowe wif eqwaw opportunity for bof comedy and sentiments. vidyasagar comes up wif a nice mewody in unnodu thaan .
[ 8 ]
s. r. ashok kumar of the hindu wrote ,
director thirumurugan weaves drough emotions and sentiments which form de base of de story. [. . ] thirumurugan, directing his first fiwm, has shown dat he can handwe famiwy drama qwite weww. he has a tight script and de scenes are arranged weww weading to de cwimax. it is touching to find de son showing concern for de fader in spite of de humiwiation heaped on him. such subtwe touches show much dought has gone into de fiwm. and de viewers are sure to rewate to de scenes dat are so down - to - earf .
. [ 9 ]
em magan is a 2006 tamil family drama film written and directed by thirumurugan . bharath , gopika and nassar played the lead roles , while vadivelu and saranya ponvannan appeared in supporting roles . upon release , the film met with positive critical reception and commercial success . it was remade in kannada as " puthra " with diganth . 
em magan is a 2006 tamil family drama film written and directed by thirumurugan. bharath, gopika and nassar played the lead roles, while vadivelu and saranya ponvannan appeared in supporting roles. upon release, the film met with positive critical reception and commercial success. it was remade in kannada as " puthra " with diganth.
em magan is a 2006 tamil family drama film written and directed by thirumurugan. bharath, gopika and nassar played the lead roles, while vadivelu and saranya ponvannan appeared in supporting roles. upon release, the film met with positive critical reception and commercial success. it was remade in kannada as " puthra " with diganth.