This is Simbudevan’s second film after “Imsai Arasan 23-am Pulikesi”, both produced by Shankar’s S Pictures. While “Imasai Arasan..” was a political satire, “Arai En 305-il Kadavul” is a combination of fantasy, humour and messages useful for real life. Simbudevan, a cartoonist himself, has narrated the story laced with humour and backed it up with computer graphics. It’s a celluloid magic created by Simbudevan for a broad spectrum of the viewers.

Paal Theru, a narrow street in Chennai’s Triplicane area is where Karuppiah Mansion is located. Two unemployed youths, Raasu (Santhanam) and Mokkai Saami (Kanja Karuppu) live there. Their room-mates include Wellesley Prabhu (Ilavarasu) who has an obsession for royal palaces, an old retired civil servant (V.S.Raghavan) and an atheist librarian Rudhram (Rajesh). Others living in the mansion are a science professor (Madan Bop) who never accepts what others say, a miserly engineer Rafique (Thalaivasal Vijay) and a low-profile artist (Sasi). Madasamy (M.S. Bhaskar) is the quirky mansion manager. Giri (Cochin Hanifa) runs a tea-stall.

Raasu and Mokkai remain jobless despite serious efforts and they are totally dependent on the others living in the mansion for their sustenance. They become the butt of ridicule and subjected to humiliation. In this circumstance, Raasu meets a girl named Mahishasura Mardhini (Madhumitha) on the road and falls for her. But she turns her back to him. What is most humiliating is that Raasu and Mokkai Saami are thrown out of the mansion for not having paid the rent for months together. Life becomes more and more difficult for them. Vexed with their wretched condition, they abuse God in protest and call the Almighty to come down to earth and answer their questions to which they have no answers in real life. The Almighty (Prakashraj) does oblige them. He descends from heaven and lives with them to solve their problems. Going by the name of Arnold in white attire, he carries a wonder gadget called G-Box (Galaxy Box) with which He rules the universe. Raasu and Mokkai no longer starve for food and they get full meals, thanks to Arnold. They are also taken around the world. Not content with what Arnold does for them, the two steal the G-Box from Arnold to become Gods themselves. The story then takes surprise turns and twists.

It is Prakashraj around whom the story revolves. He carries the film on his shoulders. His nuances are excellent in the roles of God with divine attributes and a hapless man who is rendered powerless with his G-Box stolen by the two benefactors. Acting comes to him naturally and he uses his talent to the hilt.

Santhanam and Ganja Karuppu are basically comedians and in this film they are introduced as protagonists exuding pathos mixed with humour. They give a stirring performance in their new and difficult roles.

Madhumitha and Jyothirmayi are just cameos.

Vidyasagar’s score has a soulful cover with melody. The strains of the song “Aavaram Poovukkum..” are soothing.

The Karuppiah Mansion in Paal Theru is brought alive by Soundarrajan’s camera.

The sets are eye-catching.

The film is a good entertainer and what is important is that it is also purposeful.

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Having played the role of a bubbly and young innocent role in ‘Santosh Subramaniam’ with ease, the actress is smiling all the way with offers coming her way in Tamil, Telugu and Hindi industry.
‘Santosh Subramaniyam’, a remake of Telugu hit ‘Bommarillu’, featured Genelia as the female lead in both the languages.

A thrilled Genelia says, ‘ I never knew that I would emote so well, until I worked in ‘Bommarillu’ and ‘Santosh Subramaniyam’. I don’t want to do heroine-centric films. If I have a meaty role, I am ready to grab it’.

Genelia has been assigned to do three films in Hindi. They include a remake of ‘Santosh Subramaniyam’ opposite Harman, a movie with Aamir’s nephew and another directed by Priyadharshan’.

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