ஆசை (1995)
A man kills his wife when she learns that he lusts after her sister. He then begins to make his moves for his sister-in-law. When he tries to sabotage the girl's marriage, her fiance gets suspicious.
- Erscheinungsdatum
- 1995-09-25
- TMDB
- 6.2 / 10 (14)
- Laufzeit
- 2 Std. 37 Min.
- Genres
- Liebesfilm, Thriller
- Regie
- Vasanth
Besetzung
- Ajith Kumar — Jeeva
- Suvalakshmi — Yamuna
- ప్రకాష్ రాజ్ — Major Madhavan
- రోహిణి — Ganga
- Poornam Viswanathan — Yamuna's Father
- நிழல்கள் ரவி — Lt. Col Hariharan
- வடிவேலு — Jeeva's friend
- Monica — Child actor
- S. J. Suryah — Auto Driver (cameo)
- Revathi — Yamuna (voice)
- Raju Sundaram — Special Appearance in the song "Shokkadikuthu Sona"
- Pooja Batra — Special Appearance in the song "Shokkadikuthu Sona"
Wissenswertes
Aasai (transl. Desire) is a 1995 Indian Tamil-language romantic thriller film, written and directed by Vasanth. The film stars Ajith Kumar, Suvaluxmi and Prakash Raj, with Rohini, Poornam Viswanathan, Nizhalgal Ravi, and Vadivelu in supporting roles. It revolves around an army major lusting for his sister-in-law, and attempting to ruin her relationship with her lover.
Production
Vasanth wanted to make a "family thriller" with a powerful villain not usually seen in Tamil films; the story of Aasai evolved from this. Poovellam Kettupaar, Deva and Kanne were the working titles during the film's production but Vasanth chose Aasai as the title because it was about both the protagonist and antagonist.
The lead role of Jeevanantham was initially offered by Vasanth to actor Sivakumar's son Saravanan (later known as Suriya), to make his debut but he declined, citing a lack of interest in an acting career. Ajith Kumar was instead cast after Vasanth and co-producer S. Sriram saw him in a dhoti advertisement on Doordarshan. Actor Suresh dubbed Ajith's voice. For the antagonist Major Madhavan, Vasanth considered Manoj K.
Vasanth chose the Delhi backdrop because Prakash Raj's character had to be "far away from the heroine's place" and the team shot in the early mornings during their Delhi schedule as the director was "obsessive about onlookers not being part of the frame".
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