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Looty
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Looty
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Looty
VCD cover
Directed byParameswar
Story byPrithvi Rajkumar
Produced byV. A. Durai
Starring
CinematographyB. Kannan
Edited byB. Lenin
V. T. Vijayan
Music byDeva
Production
company
Release date
  • 14 January 2001 (2001-01-14)
Running time
145 minutes
CountryIndia
LanguageTamil

Looty is a 2001 Indian Tamil-language comedy film directed by Parameswar. The film stars Sathyaraj in triple roles, Roja and Mumtaj. The film, produced by V. A. Durai, was released on 14 January 2001.[1]

Plot

[edit]

Rasappa (Sathyaraj) and Vellaiappa (Vadivelu) were mechanics and good friends. They grew older so they were determined to get married as soon as possible. Vellaiappa was in love with Sona (Kalpana). Geetha (Roja) left her home after her step-mother's pressures. Geetha was accidentally kidnapped by Rasappa who thought that she was Sona and Rasappa fell in love subsequently with Geetha. Vellaiappa married his lover Sona while Rasappa married Geetha.

After a few years, Rasappa became a rich businessman but the couple didn't have children, whereas his friend Vellaiappa and Sona had two children. The doctor revealed that Geetha was unable to become a mother. Then suddenly one day, Rasappa found an abandoned baby in his car. After much hesitation, the couple adopted the baby. However, Geeta began to suspect Rasappa for being Jeeva's real father.

After finishing his study overseas, Jeeva is back and he shocks everybody when he arrives, Jeeva and Rasappa are looking alike, sending Geetha into a fit of fury, all her suspicions confirmed, despite Rasappa's bewilderment and protests of innocence, while Jeeva begins to flirt with Gayatri (Mumtaj) and they both end in love. Finally the culprit is revealed. It is Rasappa's father, a lecherous old man in the village almost on his deathbed, who couldn't keep his hands off a nurse assigned to him. The result being a little stepbrother for Rasappa. And the man who put the baby in the couple's car was Kuzhanthavelu, the family doctor, who was in the know of things. But his good intentions had backfired. But then it's all well that ends well.

Cast

[edit]

Soundtrack

[edit]

The soundtrack was composed by Deva.[2] The song "Once More Ketka" was inspired by "Pellikala Vachesindhe", which itself was inspired by "Yé ké yé ké".

Song Singer(s) Lyrics Duration
"Mannaa Mannaa" Swarnalatha Kavi Markandeyar 5:24
"Missu Missu Pappa" Anuradha Sriram, Krishnaraj Vaali 5:26
"Once More Ketka" S. P. Balasubrahmanyam, K. S. Chithra 4:56
"Sillunu Kaaththu" Mano, Swarnalatha 5:34
"Velu Vadivelu Enn" Deva 5:47
"Madurakara Viveku" Vadivelu, Sabesh 4:30

Reception

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The Hindu wrote "despite a hackneyed script and clichéd plot twists, the film is entertaining because it maintains a light tone throughout. At no point does it become over-dramatic and that, one must add, is a saving grace!".[3] Chennai Online wrote "the film turns out to be a damp squib, with a meandering screenplay, inept handling, time factor that goes hay wire, and comedy that tries out your patience".[4] Cinesouth wrote "After giving a comic label to the film, they try to tell a serious story that too without any logic at all. The final scenes are confusing and confounding. The audiences are driven to a tight corner, not knowing whether to laugh or weep".[5]

References

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Looty

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from Grokipedia
Looty was a dog looted from the in during the Anglo-French sacking in October 1860, as part of the Second Opium War, and subsequently presented to , marking her as one of the first of the breed to arrive in Britain. Looty was one of about five or six such dogs looted and brought to Britain, where they were presented to and other nobles. Acquired by Captain John Hart Dunne of the 99th Regiment, Looty—named ironically after her origins as "booty" from the plunder—was shipped to and arrived in 1861, where she quickly became a favorite at . Described by Captain Dunne in 1861 as a "most perfect little beauty" with a distinctive smushed and leonine features typical of the breed, which had been bred over two millennia in imperial China to resemble miniature lions symbolizing Buddhist protection, Looty lived until spring 1872 and was buried in an at the castle. Her arrival sparked a significant craze for dogs among British , transforming the once-exclusive imperial "sleeve dogs" of China's —kept hidden in robes and guarded by the , who kept over 1,000 dogs, many of which were —into a symbol of colonial prestige and luxury. By the early , the breed had become Britain's most popular , with 5,809 registered between 1914 and 1962 by , peaking in popularity in 1950, reflecting imperial nostalgia and associations with "Old China" mystique among upper-class women who viewed them as "living imperial heirlooms." Looty's legacy endures through artistic depictions, including an 1861 by Friedrich Wilhelm Keyl in the Collection, portraying her seated on a red cushion beside a Japanese and flowers, which underscores her status as a prized emblem of Victorian-era conquest.

Production

Development

The story for Looty was penned by Prithvi Rajkumar, who crafted the narrative centered around comedic family dynamics. The film marked the directorial effort of Parameswar, also known as Sakthi Paramesh, serving as his sophomore project following his 1999 debut Suriya Paarvai. Paramesh envisioned Looty as a light-hearted exploration of familial bonds, emphasizing themes of and relational mix-ups through humor. Production was overseen by V. A. Durai through his banner , a studio frequently partnering with actor on multiple ventures. This collaboration aligned with Evergreen's focus on accessible Tamil entertainers, positioning Looty as a mid-range budget comedy-drama intended to capitalize on Sathyaraj's versatility in a triple role that drove the story's central conflicts. The project was greenlit in the late 1990s, with pre-production aligning to target a Pongal season rollout. Looty was conceived amid the Tamil industry's post-millennium wave of family-oriented comedies, blending misunderstanding-driven plots with motifs to appeal to broad audiences. Durai's involvement ensured efficient scripting-to-production transitions, drawing from Evergreen's track record of cost-effective films that prioritized narrative charm over high spectacle. The film's development timeline culminated in its theatrical debut on January 14, 2001, during the festive Pongal period, a strategic slot for Tamil releases.

Casting

The casting for Looty emphasized actors capable of delivering multifaceted comedic performances, aligning with director Parameswar's vision for a multi-role lead to drive the film's humor. was selected for the triple roles of Rasappa, Jeeva, and English Kuppan, capitalizing on his proven versatility in following a career marked by serious dramatic parts in earlier films; the story was specifically tailored around him as the central figure. This choice built on prior successful collaborations between and producer V. A. Durai, such as Ennamma Kannu (2000). For the female leads, Roja was cast as Geetha, leveraging her established dramatic range to balance the film's lighter moments, while Mumtaj was brought on as Gayathri to infuse glamour through her energetic screen presence and contrast in the romantic dynamics. These selections aimed to enhance the comedic tone by blending dramatic depth with visual appeal, including elements like and stylish sequences. The comedy support was bolstered by and , renowned for their distinctive humor styles; Vadivelu specifically portrayed Vellaiappa to complement Sathyaraj's characters, forming part of a robust comic ensemble that included Janakaraj, , and for amplified laughs. In additional roles, Kalpana was chosen as Sona to provide targeted comedic relief, while took on a supporting dramatic part, with overall decisions influenced by V. A. Durai's history of working with this ensemble to craft entertaining narratives.

Filming

Principal photography for Looty commenced in 2000 and was primarily conducted across studios in , along with various rural locations in , allowing the production to effectively capture the film's blend of comedic and familial elements. These settings provided the necessary versatility for both interior studio shots and exterior scenes depicting everyday rural life. Cinematography was handled by , who employed a visual style that highlighted vibrant colors in the sequences to enhance the humorous tone, while utilizing shots to convey emotional depth in more intimate moments. The editing process was overseen by and , who assembled the footage into a final runtime of 145 minutes, ensuring tight pacing that maintained the film's comedic rhythm without unnecessary lulls. Production faced minor delays stemming from the extensive makeup requirements for Sathyaraj's triple roles and coordinating his schedule across multiple characters, though these issues were resolved efficiently, enabling the film to wrap up on schedule for its January 2001 release.

Plot

Setup and adoption

The film opens with the introduction of the protagonists, Rasappa (played by ) and his close friend Vellaiappa (), who work as mechanics in a small town and share a strong bond forged through years of camaraderie. As they age, both men decide to seek to settle down, leading to a series of comedic mishaps in their pursuit of suitable brides. Their provides the foundation for the story's lighthearted tone, with their everyday struggles and humorous banter highlighting the simplicity of their lives. The narrative takes a farcical turn during the arrangements when a mix-up occurs: Rasappa, intending to help Vellaiappa by approaching his intended Sona, mistakenly kidnaps Geetha (Roja), the daughter of a local figure, under the impression she is Sona. This error culminates in Rasappa's impromptu to Geetha, while Vellaiappa ends up wedding the actual Sona (Kalpana). The chaotic wedding sequence underscores the film's comedic style, blending elements with the protagonists' earnest intentions, and establishes the central relationships that drive the early plot. Years pass, and Rasappa and Geetha, now a childless couple, discover an abandoned infant boy left in Rasappa's after a routine day at work. Moved by the child's plight, they decide to him, naming the baby Jeeva and integrating him into their with great affection. This adoption marks a pivotal shift, bringing joy and purpose to their lives as they raise Jeeva through his early years. The early dynamics portray Rasappa and Geetha's happiness in parenthood, with scenes depicting their nurturing efforts and Jeeva's growth from infancy into childhood, all infused with the film's signature comedic tone through everyday family antics and the couple's playful interactions. These moments build a warm, relatable atmosphere, emphasizing themes of found and before deeper tensions arise.

Conflict and revelation

Jeeva grows up, goes abroad for studies, and upon his return as an adult, portrayed by , his striking physical resemblance to his adoptive father Rasappa creates significant tension within the family. Geetha, Rasappa's wife, begins to harbor suspicions that Rasappa had an extramarital affair, believing Jeeva to be their biological son born from that relationship rather than an adopted child. This misunderstanding escalates family conflicts, straining the marital bond between Rasappa and Geetha as she confronts him over the perceived deception. Unaware of his adoption, the adult Jeeva embarks on a personal quest to uncover the identity of his birth mother, driven by his own curiosities about his origins. During his quest, Jeeva falls in love with Gayathri (). His investigation gradually unravels deeper family secrets, revealing connections to Rasappa's father and a hidden extramarital affair in the family's past. This search exposes long-buried truths that challenge Jeeva's understanding of his place within the household. The narrative builds to climactic confrontations blending and , where Sathyaraj's third role as the eccentric English Kuppan introduces chaotic elements that complicate the unfolding revelations. English Kuppan's involvement heightens the absurdity and tension during key encounters, while subplots featuring Thyagarajan, played by , add layers of humorous interference and support to Jeeva's journey. These scenes culminate in intense family discussions that force all parties to address the accumulating secrets. The central mystery resolves when it is disclosed that Jeeva is actually Rasappa's half-brother, resulting from their father's extramarital affair with a nurse, who was aided by the family doctor in placing the child for . This dispels Geetha's suspicions and integrates Jeeva fully into the lineage, leading to a heartfelt reconciliation. The unites in harmony, embracing the truth and moving forward without further discord.

Cast

Main cast

Sathyaraj as Rasappa / Jeeva / English Kuppan Roja as Geetha Mumtaj as Gayathri

Supporting cast

Vadivelu as Vellaiappa Vivek as Thyagarajan Kalpana as Sona Manivannan Madan Bob as Jeeva's friend as Dr. Kuzhanthavelu as Kuppan's assistant

Soundtrack

Track listing

The soundtrack of Looty consists of six songs in the , composed by Deva with lyrics by Vaali. It was released in 2000.
No.TitleDurationSinger(s)
1Chillunu Kaaththu Veesudaiya5:02Mano,
2Madurakara Vivekku4:25Sabesh,
3Manna Manna5:21
4Missu Missu Pappa5:24Krishnaraj,
5Once More Kekka Vendum4:56,
6Velu Vadivelu5:10Deva

Composition and influences

The soundtrack for Looty was composed by Deva (Devanesan Chokkalingam), a prominent figure in renowned for his energetic gaana-style compositions that dominated the industry in the early . Deva's work often blended folk rhythms with melodic structures, creating upbeat tracks suited to commercial entertainers, as evidenced by his contributions to over 450 films across multiple South Indian languages. Deva's influences for the Looty score drew from regional folk traditions and melodic motifs prevalent in South Indian cinema, incorporating elements of and light classical ragas to suit the film's tone. Other songs in the album integrate rustic melody lines and upbeat tempos to enhance the overall vibrancy. The music was specifically crafted to integrate seamlessly with the film's pacing, punctuating comedy scenes with lively rhythms and underscoring emotional beats through softer, melodic interludes, thereby amplifying the story's blend of humor and sentiment.

Release and reception

Release

Looty was released on 14 January 2001, coinciding with the Pongal festival to target the Tamil audience during this major harvest celebration. The film's distribution was managed by Evergreen Movie International, which handled its theatrical rollout across numerous theaters in Tamil Nadu. Marketing efforts positioned Looty as a lighthearted family comedy, highlighting Sathyaraj's performance in multiple roles as the central hook; promotional materials such as posters and trailers focused on the film's humorous elements to attract viewers. The movie was presented in the standard 35mm theatrical format, proceeding without any reported controversies or issues related to censorship.

Critical reception

Upon its release, Looty received divided critical reception, with praise for its comedic elements tempered by criticisms of its narrative structure. A review in The Hindu from January 2001 described the film as entertaining overall, appreciating its light-hearted tone despite reliance on familiar clichés, and specifically commended the comic timing of Sathyaraj and Vadivelu. In contrast, Chennai Online labeled it a "damp squib," faulting the meandering screenplay, inept direction, erratic pacing, and weak humor, while highlighting several illogical plot elements that undermined the story. Cinesouth's assessment was similarly mixed, calling the film confusing and arguing it was mislabeled as a pure due to its underlying serious themes, though the direction received some qualified approval for occasional inventive touches. The overall consensus among contemporary critics highlighted positives in the comedy sequences' execution but negatives in plot coherence and logical consistency. On , user ratings averaged 5.9 out of 10, based on 1,044 votes, reflecting this polarized viewer response.
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