Do we really need to emphasise the sadness on someone’s face with two lines of a sad song? Isn’t the acting enough? Priyadarshan’s Summer of ‘92 is especially guilty of this, where the score is as non-stop like in a cartoon.
It has some qualities that we see in quite a few of the films in this anthology: some great craft, some terrific performances, but also, an overall sense of generic-ness.Īlso, many of the films make you wonder if we should begin to rethink the purpose of songs and background scores. But the film is very wordy and doesn’t have the power that the premise suggests.
And I loved Revathi’s big speech at the end, which is about a series of what-ifs. It’s certainly interesting as a concept, something like an interior monologue from a Dostoevsky novel. Anyhow it’s a healthy message for our Tamil industry that we have got a talented new comer -Yes the NAVARASA NAYAGAN returns.The film, however, is less so. But badly missing the touch of Mani Rathnam in his own area - script and screenplay especially in second half. Manirathnam should be appreciated for extracting best from them. The presence of A.R Rahman, Rajiv Menon and Gautham is strongly felt in the movie. Thulasi is comfortable and seems to have good potential.
No words, Super, Super, super.Ģ) Camera work is another worth mentioning element for this movie and there is no wonder in that, since it is owned by Rajiv Menon.Īrjun, Arvindswamy, Ponvannan do justice their rules and Arvindswamy returns with a strong comeback. It’s tough for me to select pick of the lot from the following -Nenjukulle, Eley keechan, Moongil thottam, Adiye and chithari nila. It can only be AR Rahman who can deliver experimental and Feel-fresh composition even after 20 years of his carrier. I strongly felt that if more scenes were given for the Gautham-Thulasi, it would have made a better impact.ġ) Instead of saying "Music by A.R Rahman" the title card should have been amended saying "Magic by A.R Rahman". The scenes discussing much about Good Vs Evil highly disturb the pace of the movie.ģ) The story provides more space for Arjun and Arvindswamy whereas Gautham is introduced 35 min after the start of the movie and Thulasi hardly has less than 4 scenes in the first half. Great performance.ġ) The script looks flimsy and few characterizations are not convincing (especially Arjun).Ģ) Screenplay is not very interesting. I guarantee that any one watches his scenes cannot take our eyes away from him.
Especially the Small boy (5 to 6 years old) speaks a lot just with his stunning painful looks and mannerisms, though he owns very few dialogues. He stuns everyone with very charming screen presence coiled with excellent acting skills in all domains like romance, dance, action, fun and surprisingly in emotional scenes too.Ģ) Both the junior versions of Gautham steal our attention. Really it’s tough to accept that Kadal is his first venture. But all those speculations got battered within 15 minutes after Gautham’s introduction who is simply mind blowing. Its post interval, movie slightly loses its track owing to the script which voluntarily owns the blame.ġ) My surmise about Gautham's look after seeing him in Kadal trailer was not very positive and I felt that he had immature look which may harm the movie. The movie takes-off promisingly with Manirathnam branded shots especially the initial sequences between Arjun-Arvindswamy and the childhood sequences of Gautham which are good. The plot is more of an analysis on Christian philosophy - Good Vs Evil set in backdrop of sea, where a small romance portion is added for support to take the movie forward.