ranivinodkanna One of the best movie I've come across. Full marks to the script writer, direction and music. Actors Str and Trisha have completely justified their role in the movie. GVM, Director of the movie have brought the right emotions in each of the frames. He was able to rightly put things which makes a sadly ending though a very good love story. This movie is all about a boy who pursuits his love and does the best for their healthy relationship; being opposed from girls parents, they somehow part ways. However, boy successfully followed his ambition of becoming a film director and makes a movie based on his own love story which did not succeed but he puts a happy ending under his direction, is a twist during the climax of VTV. Experience- refreshing love story, movie has complete blend of love, romance, madness, craze, heartbreak, emotions, music and background music. A nice and a perfect blend of love story entertainer by GVM. Thank you Sir!

aadiitya-90999 Awesome movie with excellent songs.The first half was very good.But in the second half the film travels in a slow pace,eventually it boosts up.Songs are the biggest strength of this film.Young super star was good in his acting.Trisha was extremely ultimate in her act.Use of bad words in the second half must have been avoided to make it a complete family entertainer.The love story between them seemed to be realistic and it was heart touching when you watch it.The romantic scenes were excellent. Director Gautham Menon was awesome in his direction.The true love in a youngsters mind is clearly shown.The film would have been more awesome if the second half had traversed in a fast pace.Anyway it was nice if you watch it with a fresh mind.The movie ultimately ends in a tragedy unexpectedly which was its plus.

upnworld.com What commenced the catamaran towards the Tamil picture for me, was 'Omanna Penne' - one of the greatest video songs in the history of Indian cinema. And ten minutes into watching 'Vinaithandi Varuvaya' , not to mention witnessing the simple yet splendid arc of the camera in the opening credits , was enough to hint that Gautam Vasudev Menon had a special project going on here. Manoj Paramahamsa's world-class cinematography tells us the story , with stellar esthestics in the camera's framing , glides and arcs. The plot line is great enough to stretch from the beginning of mankind to its end but, Dear Reader , I'll cut it medium short just for you. Hindu Boy meets Christian Girl, goes nuts over her ,hops over a gate ,sings a snazzy song and obsessively woos her in the grand tradition of Tamil cinema's young male bravehearts who are the finest antithesis of pyrrhic victors. Girl actually is interested, even manages a smooch but Boy wants much more but Girl's Daddy is a baddie due to orthodox reasons. Well-educated Girl is all set to tie the knot with San Francisco-based vice-president-of-something while Boy is sneered at because he is doomed to start off electively as an assistant film director (more understandable in India wherein thousands of trashy films domestically made, have disillusioned so many). But Girl then says yes then says no, then says no then says yes ..and repeats cycle on oscillating loop till frenetically persevering Boy is so confused that he seeks deliverance of a different kind...Unexpected pleasant surprises stud the film. Alleppey district of Kerala is introduced by a smartly telescoping succession of brilliantly cut scenes compendiating the milieu's beauty and details, both municipal and pastoral. Editor Anthony superbly executes the brief given to him. In another scene notable for a different kind of cinematic narration, it is early morning with light barely coming through and we see the hero on the bike with a girl on the backseat - when he hears depressing tidings, the screen darkens progressively as a reflection of the sun within him setting before it has even arisen, and then a red light is seen emblazoned against the white bands of his shirt when he stops the bike at a traffic signal, as though his heart is as redly inflamed as it could ever get.No study of the select examples of Indian films that seamlessly splice songs into the narrative, would be complete without an inclusion of VV. The film's initial such examples - of boy and girl meeting for the first time (Hosanna), of boy and girl scheming a joint journey and then canoodling in an Indian first-class blue- cushioned train compartment (Omana Penne) - reveal an auteuristic finesse in making the sings effortlessly flow into the story.Trisha is deceptively good at portraying the torn-between-two-worlds Jessie. What shows on Jessie's face and behaviour does not quite indicate what decisions she will eventually take. Menon pushes her close to the level of the maniacally oscillating dame of 'Jules et Jim', to which crux she might have well descended to, had this story been a fully reciprocative love triangle. Silambarasan does not reveal great nuance of acting in this picture but his keen delivery of all the broad emotions amply redeems his act. Some his outbursts are indubitably terrific - I clapped without stopping like a shamelessly stoked vulgarian, when in response to Jesse saying that their prospects of being together are further weakened by her dislike of movie-watching, he snarls "What the f***ing kind of logic is that?!" (the Censor Board bleeps out the adjective - apparently it is alright for the nation to f*** its way past China to become the world' most populous country but it's not alright to utter the dirty word). Besides, Silambarasan can physically fight like a mean professional , and dance with slick grace - you don't need much else to be a hero in India, or for that matter in many other parts of the world. The way the ending reamed around , repeatedly, with the true nature of what transpires, had me exasperatedly whispering slangs while watching the fag end. But Menon ultimately needs to be commended for daring to toy around that much with his audience. Still, the denouement is too frothy - a potion like what this movie promised, drunk to the lees, ought to have an aftertaste that is less forgiving. But this gripe should not detract from what has been achieved both technically and thematically overall. Menon inserts a line at the end that clearly conveys the autobiographical nature of this work. It must be a unique feeling to lay bare your heart in front of a cinema mass audience ...and fortune favours the brave. His luck was that he made the original film in Tamil Nadu and it succeeded on all fronts . I concede that even if it was a flop he might still have derived some satisfaction, but it remains a pity that re-making the film in Mumbai confounded him so much that giving the film two different endings (to purportedly appease an infantile nation-wide audience) still wasn't enough to have the Hindi version slammed by both critics and audience alike.

Arun Nambiar One of the best ever romantic movies made, hats of to Gautham Menon, Chimbu's acting is too good and best part is the music composition by ARR. Dialogues are too good a must watch movie for lovers.Some of the scenes in the movie just took away my heart , At times i thought of my own love story movie is just simply breath taking.The song "mannipaya" has become one f my favourite ever , hosanna and "omanapenne" all the songs are just too good,and the scene in which "Kartik" throwing away his phone getting annoyed with Trisha just imagined myself, camera-work has been super Kerala locations are too good,misunderstanding just made their routes different, climax was good took in a different style.