There is next to no curiosity in Ponmagal Vandhal, aside from the way that Jyotika’s Venba utilizes tears and feelings to persuade the appointed authority with almost no hard proof to demonstrate her point!
It is an invite note that Tamil film has adjusted to times and attributable to the impossible pandemic, first-time executive JJ Fredrick’s Ponmagal Vandhal (The Golden Girl Has Arrived) was pushed straight onto a gushing stage, Amazon, without trusting that the films will revive.
In a meeting, Fredrick said that little movies like his would possess to hang tight a long energy for a dramatic discharge significantly after lobbies had started working, since enormous, huge spending films would get the primary inclination.
With Jyotika playing debutant attorney, Venba, in Ooty (where the film is set), Ponmagal Vandhal is a wrongdoing spine chiller and lawful dramatization folded into one. In 2004, a progression of youngster assaults and murders in the Nilgiris (where Ooty is found) lead the police to capture whom they portray as a North Indian lady and shoot her, expressing that she was a “psycho Killer”. Guardians in Ooty and around are made to accept that she was the offender, and a widespread panic is produced.
After fifteen years, Petition Pethuraj (Bhagyaraj) revives the case and asks his little girl, Venba, to battle it out in court. Known for looking for lawful review for the most minor of causes (remembering a fly for his glass of tea), Pethuraj isn’t paid attention to by the townsfolk. Yet, they are irate that Venba ought to have taken up clubs for a heartless sequential executioner.
Fredrick, who likewise composed the screenplay, uncovers numerous subtleties halfway through the film, leaving one turn as far as possible. In spite of the fact that Jyotika is great as the attorney battling to fix a gross wrong and seize the blameworthy and is capably bolstered by Bhagyaraj and Pratap Pothen (who papers the appointed authority), Ponmagal Vandhal (created by Surya and Jyotika) has been propelled such a great amount by Jolly LLB and Jolly LLB 2 (both in Hindi) that the Tamil film could have all around been a change.
The resistance counsel, Rajarathinam (Partheiban), helped me to remember Boman Irani in Jolly LLB and Annu Kapoor in Jolly LLB 2 – both guarding the guilty parties. Jyotika appeared to be progressively similar to Warsi in Jolly LLB, who revives a case by recording an open intrigue prosecution. A large number of the court scenes in the Tamil work seem to have been lifted from the two Hindi titles, particularly a portion of the contentions of the barrier and judge’s peculiarities. Indeed, even the phony experience in the Jyotika-starrer comes, as it were, from Jolly LLB 2.
Lamentably, there is almost no oddity in Ponmagal Vandhal, aside from the way that Jyotika’s Venba utilizes tears and feelings to persuade the appointed authority with next to no hard proof to demonstrate her point! How might this substitute a courtroom? It beats me.
Quite a bit of Tamil film is disgracefully written, and scriptwriters show torpidity and take the path of least resistance by lifting scenes or thoughts from different movies – and Hindi as well as even remote. Ponmagal Vandhal notwithstanding its striking endeavor to sidestep the theater, neglects to offer any plot creativity.
Ponmagal Vandhal is gushing on Amazon Prime.