When Kaviyarasu Kannadasan’s “Kanne Kalaimane” is the title of the film, it is evident that the movie is not going to be just Seenu Ramasamy sir’s film, but a poem altogether. When we leave the cinema hall, one important thing strikes us – if this could have been written as a novel than a film, it would have been more convincing. Because cinema has to fit in a certain structure – ‘opening, conflict, interval, high point and the climax’, most emotional dramas that we have seen over the years were picturised in the said structure but this film stands out. And that’s the reason for us to feel it could have been a novel.
We all know that Seenu Ramasamy sir’s specialty is to capture the faces and feelings of every common man. He has done that so beautifully in this film too. He is effortlessly showing the stories of our home land – Tamilnadu. After Chengalpet, each and every face that we come across represents the identity of every face in Tamilnadu. The film has a lot of aerial shots, pleasant locations and the cinematography is just stupendous.
Overall, the film is feel good. But in the cinema jargon, when we look at it as first half and second half, scenes before interval comprises mostly of social issues before entering the main story. But at the same time, it speaks about matters concerned with the politics of today. So, we are able to discount that.
Udhayanidhi Stalin, an agri grad, does a lot of social awareness programs but we doubt what he is exactly. Tamanna, as a Bank Manager is bold and beautiful. And obviously, love develops. But the way it blossoms in silence without much conversations makes the romantic part unique and fresh. But again, we felt that their matured and progressive character gets diluted when clichés come in between, like his friend asking questions like “Is she your wife?” when he sees them together and when their parents say them to stop seeing each other, both the leads start worrying about the fact. These things are what we felt as the reason for dilution.
As said, most of the characters talk about social issues and so their actual characters don’t stay in our heart in the first half and that makes the half slow.
Coming back to Udhayanidhi, we are so happy that he finally found the right genre. His face-cut and features aptly merge with the character written by the director. If this film were featured as a novel in a weekly-magazine, they would have had a face with Udayanidhi’s features in their sketches. When he cries, we awe that there’s actually an actor on the block. He actually makes us cry with his tears. Well done!
And coming to Tamanna, she’s evolving in her acting. Actresses, unlike actors, usually don’t get enough time for evolution or perhaps they have chosen their priorities for lesser time being a factor. After Nayanthara, she has emerged as one of such actresses. We’d love to see her in challenging roles like this.
Vadivukkarasi Mam: New age directors are not writing emotional dramas and even if they write, the making is so subtle with dramas for sure, but the emotional part is slightly left behind. But the emotional drama specialist Seenu Ramasamy sir has given one such role to the seasoned actress. Hers is this one character in the film who has to exhibit a lot of dimensions. Be it, anger, hatred, affection, she scores a century in every department.
How a review without music and that too in a film where music conveys so much? Yuvan Shankar Raja’s BGM is the oxygen for the film. The song “Vaa Vella Raasathi” is out of the park. More than anything, if you shed a tear, his music also grabs a major portion of the credit.
Humour has worked in a few places. Since the major portions of the film begins in the second part, we feel that the connection which gets created there gets broken in minutes when the film reaches the end. Climax is like a poem. Recently, films like 96 and the much spoken film Tolet had such a climax.
If Tamil Cinema gets like 4 or 5 of such films in a year, audience’s perception and taste will definitely reach the next level.
Verdict: Heart Touching Emotional Drama!
TalksOfCinema Rating : 3/5