When writing the story of 'Pasanga' looks like director Pandiaraj got into the skin of the kids, since every movement, thought and feeling of kids is brought out so realistically in the film.

Among the crop of new young directors who seem to hold promise of good cinema in Tamil, one is Pandiaraj.

One boy is Anbukkarasu. Another boy is Jeeva. The former's family moves in newly from Asalur. As the son of the school teacher, Jeeva struts around in his villainous demeanor. Both boys are in the same class. Starting from contest for class leader, they are in competition for just about everything.

Slowly, the fights between the boys spill over into their families too. Jeeva's sister Vega and Anbu's uncle LIC Vimal, fall in love. What follows is a mix of romance, comedy and galatta ending in a climax worth relishing.

Producer Sasi Kumar deserves first appreciation. Many a producer would have pooh poohed a script with young kids on the premise that it would not run, but Sasi Kumar could well visualize its potential and he's to be appreciated for lending a hand to director Pandiaraj on this project.

Secondly, Pandiaraj's handling of the young actors must have been great because how else could he have managed to elicit such realistic performances from them?

Thirdly, the children have been given enough scenes to prove their acting talent. Each one is a budding superstar. Small heroine, Kuppumani and Pakkada characters spring surprises. 

Vega-Vimal romancing is also pleasant. In "paada vandhom gaanam," their eyes speak as eloquently as their facial expressions. Dialogues like "Ingittu Meenatchi, angittu yaaru" offer full talk time to rasikas.

Jaiprakash as the teacher, his riffraff son are apt casting. When the boy turns over a new leaf and eagerly wants to study properly, he asks with humility, "Dad, please tell me what I should do," and one is almost tempted to say, "nirka adharkku thaga." The flirting and uniting of Anbu's parents are such that will be a balm to many families where wounds still hurt.

Children's subjects sometimes bore elders. A love subject may have unnecessary glamour and duets not suitable for children. Family stories generally spout advice. The strong point of 'Pasanga' is the screenplay can be enjoyed by children, adults and those in love.

Music by James Vasanthan, camera by Prem Kumar, serve like the third and fourth arm of the director. In the early part of the film, the editor should have consulted the director and edited out the scenes like those of the children defecating.

'Pasanga' is strong.