Raja is beaten up by goons hired by their classmates who disapprove of their love story. Subhadra’s worst fears come true on the way back from the temple. Subhadra reveals her feelings by sprinkling holy ash near the idol for Raja to apply on his forehead. Raja’s efforts gradually inch towards success and the couple finally share a moment together in silence at a temple. T Rajendar’s lyrics put it succinctly: Paakuradhu paavamillae, pudippadhu sulabamillae (Seeing is no sin, what’s difficult is getting a hold of the beloved). In the next song, Koodaiyilae Karuvaadu, he attempts to draw Subhadra out of her shell, but she seems content with admiring him from a distance. Not exactly a wise choice for Raja if he is looking to impress Subhadra. The track that introduces Raja’s musical talent is Ada Manmadhan Rachikanum, whose lyrics are made up of the names of nearly all his female classmates. Ibrahim, therefore, uses the soundtrack, composed and written by T Rajendar, to help the silent, suffering couple speak to each other. Subhadra knows that Raja isn’t like the rest, but she does not want to risk her already threatened reputation.
The name-calling makes Subhadra extra-cautious and wary of any interaction with a male. After news of her father abandoning the family and her mother’s old college love affair spreads in the village, Subhadra’s mother becomes the subject of gossip.
Subhadra, especially, does not have it easy. Male classmates hang around like predators at the college campuses, and women are pursued and harassed until they are driven back into their homes. It isn’t easy being a female college student in the 1980s in Tamil Nadu, the film tells us. How does the couple communicate with each other? Through the seven songs in the film. Ibrahim’s film, in fact, is famous for featuring a lead pair that barely utters a word to each other throughout the 121 minutes.
Her eyes always manage to seek out Raja, be it in college corridors or the train that they both take to college, but when Raja approaches her, Subhadra runs in the opposite direction. Subhadra’s hot-cold attitude leaves Raja confused. Things get more complicated as time passes. However, Raja isn’t entirely sure if that means she likes him too. Clad in a saree whose pallu is worn like a tight shawl, Subhadra returns his smile as well as his stare in that instant. Raja falls in love with Subhadra the minute he sees her. The title, which implies one-sided love, explores the unrequited love of college student Raja Shankar) for his classmate Subhadra (Roopa). Indeed it is worth recalling EM Ibrahim’s musical for the unique manner in which it used its soundtrack. He remembered one film in particular: the 1980 musical Oru Thalai Ragam. The show is a throwback to old Tamil films that were led by music, said Anup Chandrashekhar, the business head of the channel. Music composer Madhan Karky, who is one of the brains behind the show, described its objective ahead in April: “To show that an entire story can be told using songs as a device”. Each episode of the Colours Tamil show features a 20-minute narrative narrated through songs.
The title of the ongoing television series Oru Kadhai Paadattuma Sir (Shall I Sing a Story Sir) emanates from its theme. As J&K heads towards delimitation with reserved seats, BJP promises ST status to another community.Caught in fishing nets, sea snakes are dying along the Malvan coast of Maharashtra.‘Such is life’: New Zealand PM Jacinda Ardern cancels wedding as Covid-19 cases continue to rise.India’s first dugong reserve will help protect the world’s only herbivorous marine mammal.Understanding the science of ageing that Jeff Bezos wants to conquer.Watch: Customer struggles through knee-deep snow to eatery, collapses on finding it closed.IPL 2022: List of players retained, signed by new teams, purse details and auction breakdown.Budget 2022-’23: With the economy in a crisis, Centre should consider a Covid tax on the ultra-rich.Cricket: One-day series against SA an 'eye-opener' for India, says Dravid.Indian men are taking to Twitter to oppose the possibility of marital rape being criminalised.