We have been witnesses to scores of love stories on screen where marriage (or in some cases, suicide) is the natural culmination of the love affair and the movie. In Alaipayuthey, that is only half the story. Manirathnam then focuses his camera on wedded life and the rough course it typically takes, even in love marriages. But inspite of the heaviness of the theme, the tone is predominantly light.

After dealing with dons (Naayagan), communalism (Bombay), politics (Iruvar) and terrorism (Roja and more recently, Uyire), Manirathnam looks closer to home in Alaipayuthey. The canvas is much smaller, the characters are people you might run into on a daily basis and the problems they face are readily identifiable. This might bring back memories of his break-out film, Mouna Raagam. Though it is no Mouna Raagam, Alaipayuthey is still a quality movie that is charming and endearing.

Karthik(Madhavan) and Sakthi(Shalini) are the young lovers whose romance starts and grows on the Madras electric trains. These portions are filled with the cute interactions that Manirathnam is so famous for. When ego and status problems prevent them from getting married, they decide to get married secretly but live separately. But circumstances force Sakthi to let the cat out of the bag. So they move out and start their new life under one roof. But they soon realise that marriage is not the bed of roses they had thought it would be.

The movie flits between the past and the present with scenes of Madhavan anxiously awaiting Shalini's arrival intercut with flashbacks of their love affair and married life. This is definitely an innovative technique and the way the past and the present are finally merged deserves a round of applause. But the climax that follows is overly melodramatic and seems more than a little drawn-out.

Manirathnam's depiction of love has always been cute and there is no dearth of cuteness in the romance between Madhavan and Shalini either. Their initial meetings are charming and the scene where Shalini and Swarnamalya attend a function at Madhavan's house elicits a broad smile. The 'thaali' sentiment is also debunked in a delightful scene. There is also a touch of practicality in their proceedings (for instance, their dialogs when they decide to go their own ways) and this helps make Shalini's eventual change of heart more effective and believable.

The light-hearted tone persists, even after their wedding and this works both ways. There is just the right amount of seriousness to make the proceedings entertaining without seeming too heavy. For instance, the quarrel arising out of Madhavan being stranded outside without a key and his subsequent attempts to pacify Shalini are realistic. But it also gives the events a cinematic feel. In one scene, Madhavan comes in to tell Shalini a joyous news but inexplicably postpones it and never brings it up later either.

Madhavan is promising in his debut feature and his character is designed to set hearts aflutter. Shalini has shown improvement with every movie and continues the trend here. She will definitely be missed if she stops acting after her marriage to Ajith. V.Natrajan, a producer, has several sharp one-liners which he delivers with good timing. He leaves us asking for more since he disappears in the second half, with the focus shifting to Madhavan and Shalini after their marriage. Vivek is wasted in a role that not only has no comic potential but also has very little screen time.

The dialogs are down-to-earth and sensible and Manirathnam has kept away from his usual curt dialogs. P.C.Sriram is behind the camera and it shows. As in Mugavari, the images are sharp and clear and some of the outdoor visuals, especially in the Pachai Nirame... song, are breathtaking. And on a completely different note, the picturisation of an accident makes the audience gasp with its suddenness and brutality. A.R.Rehman also does his part with a catchy soundtrack. Kaadhal Sadugudu... and Snegidhane... are tops and enhanced by well-choreographed song sequences. But the skimpily clad dancer in September Maadham... could have been avoided.

With his track record, Manirathnam movies will always be accompanied by certain expectations. As a self-confessed Manirathnam fan (I loved the commercially disappointing Iruvar and was not as harsh as other reviewers on Uyire), the expectations are even higher in my case. With Alaipayuthey, he has not disappointed though it is doubtful if the movie will stand up to its name and create any waves at the box-office.

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