Kanda Naal Mudhal
Director: Priya V.
Cast: Prasanna, Laila, Karthik Kumar
Storyline: Always at loggerheads in childhood, Krishna and Ramya carry their animus to their adulthood --
Bottomline: Tasty treat for all age groups.
From the title to the treatment everything about Duet Movies' `Kanda Naal Mudhal' glistens with a poetic touch, and first-time filmmaker Priya V. proves with each frame that she's here to stay. Boy-girl tussles leading to love are not new to cinema. But plaudits to the way Priya weaves her story and characters into an enjoyable film!
Krishna (Prasanna) and Ramya (Laila) who were at loggerheads in childhood take off in the same vein when they come face to face more than a decade later. So whatever Krishna says or does, is misconstrued by Ramya. The realisation comes later and when it does it paves way for the love ... The inhibitions with which director Janaki Viswanathan dealt man-woman relationship in `Kanavu Meippada Vaendum' is not in the least visible in this woman technician's telling of her story.
Spontaneity and subtlety so characteristic of Prasanna, come to the fore once again in `Kanda Naal ... ' Here is a hero who is bound to go places! Laila is her ravishing self. Wonder how the lady looks younger with every passing day! After director Bala it is Priya who has beautifully showcased Laila's histrionic potential. Karthik Kumar's role of the suave, present day youth living abroad is more an extension of a similar (small) part he played in `Alai Paayudhae.' As Arvind, the reluctant and rather brusque young man who wriggles out of his engagement, Karthik fills the bill. He looks younger than Laila. But if you let it pass it's only because Priya's adept direction takes your mind of the observation. You are almost shocked to see Revathi looking sad and jaded. Her role could be serious but the washed out appearance perplexes. Contrastingly it is a zestful show from Lakshmi.
Why should Devadarshini always be a sister, married or unmarried? Such capable actors ought not to be typecast.
Special mention has to be made of E. Ramadas for his effective dialogue-penning skills. Many a shot, and the lighting in totality bear the stamp of the ace cinematographer, P. C. Sriram. Thotta Tharani's art re-creates the middle class homes and plush offices with finesse.
Probably the slight protraction in the climax could have been curbed, but on the whole `Kanda Naal ... ' spells class. When the hero and heroine recall the childhood scene when they were at each other's throats, you see the two wearing the same colours of the costume they did then, as if to say their attitude towards each other remains unchanged. Attention to such nitty-gritty says a lot about the diligence of the team.
Yuvan's traditional title song blends well with its trendy beats. `Pani Thuli ... ' has a haunting, hum-worthy refrain. And the re-recording is equally commendable.
`Kanda Naal Mudhal' is `a film to relish ... like a cup of good coffee' scream the hoardings splashed all over town. True to its words, it is ...
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Chennai and Tamil Nadu