5/26/2017 2:54:00 PM
The story starts off with Delhi Ganesh narrating a story to his grandson and granddaughter. The landlord at Mangalapuram has two sons. His elder son is staying with him after getting married while his younger son, the hero Yahavan is studying in Chennai. He gets romantically involved with Gayathri and they get married. When the newlywed couple come to Yahavan's hometown, his father, elder brother and sister-in-law are pronounced dead. Gayathri inquires Yahavan what happened to his father upon seeing that his brother and sister-in-law's pictures are hanging on the wall with garlands. Yahavan however brushes away her query saying something incoherent. And, from that day onwards, a spirit takes over Gayathri's physical form and doesn't allow her to get close with Yahavan. Upon realizing that a spirit has taken control over Gayathri's body, Yahavan decides to consult a astrologer, who states that he needs full disclosure on the events that had taken place in that house and only then he would be able to help him.
Left with no choice, Yahavan narrates what had happened. He says that his sister-in-law was pregnant when she fell into a well under mysterious circumstances. Saddened with grief over the incident, his elder brother too passed away in a few days. The remainder of the plot of Mangalapuram revolves around who killed Yahavan's sister-in-law and, who and why the spirit took over Gayathri's body.
Yahavan's role can be best described as innocent and since he is a newcomer, it is understandable that he doesn't get the expressions right on few occasions. The same can be said about Gayathri too who comes in as a doll and dances with the hero for a song. There's not much to talk regarding their chemistry on screen. The most effective actor in the film however is Kamali, who comes in as the sister-in-law and has delivered a commendable performance - be it in the horror scenes where she leaves us terrified or in sentiment. Ajay Rathnam brings in his experience and portrays a decent performance and the same can be said about Delhi Ganesh. Bonda Mani's comedy antics with his gang fail to impress.
Director Gopal has attempted to make a film that balances between both sentiment and thriller, but has failed to convey the story in an effective manner. His efforts to extract the best output from his cast also falls flat and that is visible throughout the narrative of the film. Ilanayagan's music hardly impresses and the and the same can be said about his background score. Thirugnanasambandham's cinematography isn't up t the mark.
In short, Mangalapuram is not fascinating.