Manmatha Leelai Movie Review

 Sypnosis: Two casual hookups in the existence of a man that happen 10 years separated appear to reflect one another. Is there something else to them than what meets our eyes?

Review:

The plot of Manmadha Leelai is intercut between occasions that occur in double cross periods. In 2010, Sathya (Ashok Selvan), an undergrad, welcomes himself to the home of Poorni (Samyuktha Hegde, who pulls off an interesting job pretty well), a young lady who he's been talking up on the web. With her 'father' (Jayaprakash) leaving town, he plots to get laid. In the interim, in 2020, a similar Sathya, who is currently a top style fashioner, welcomes Leela (Riya Suman, powerful as a femme fatale), an IT laborer who has wrongly wound up at his entryway, into his home. His significant other Anu (Smruthi Venkat, playing Miss Goody Two Shoes once more) has gone to visit her folks with their little girl, and Sathya sees it as the ideal chance for a casual hookup.

Venkat Prabhu shows us how these two evenings disentangle for his hero , slicing from one even to the next on the other hand. The smooth altering (by Venkat Raajen), informed by the sure composition, guarantees that there are no jerks in this non-direct portrayal, with scenes moving from one timetable to the next in a smooth way. Venkat Prabhu composes these scenes so that they reflect one another. Both these occasions occur on a stormy evening, include drinking, and a difference in garments. As in grown-up comedies, the look is unmistakably male. Sathya is developed as the hunter, who capably takes his actions to capture the ladies and accomplish what he needs — sex. Tamilazhagan's camera ventures all around the two ladies' bodies in an indecent way, catching each bend and glimmer of skin. Furthermore, the tone of Premgi Amaren's fairly stubborn foundation score is celebratory at these times, with nadaswaram and mridangam, mirroring Sathya's joy. All things considered, the primary half is pretty much a tomfoolery cavort.

The film arrives at its break moment that the relative who is away returns unannounced in both these courses of events, leaving us with an edge-of-the-seat circumstance - will Sathya get found out? Venkat Prabhu go on in similar perky tone, giving us tense circumstances in which his hero verges on being uncovered. Also, we start to consider how the chief could tie up these tracks, with a wide scope of potential headings he can take. He even gives us a lip-smacking turn halfway that reverses the situation on his hero, penetrating his inner self, in one of these courses of events.

Tragically, the chief — who pulled off a significantly more perplexing story with Maanaadu — picks the street frequently went here. What was a strained grown-up satire transforms into an unoriginal wrongdoing film with a helpful completion and an anticipated bend. Indeed, even apparently, the film becomes something conspicuous and awesome. Furthermore, it is passed on to Ashok Selvan — who is dynamite as a cajoling womanizer resolutely pursuing getting his objective, causing his dissatisfactions to feel amusing to us — to convey this change. The entertainer attempts, yet with the getting letting him on paper, he scarcely figures out how to keep this fast in and out from arriving at it's peak on an unacceptable note.