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Kana KandeinWhen K.V Anand, who used to mesmerise me with his magical camera works, announced that he'll be wielding the megaphone of Kana Kandein, the reason was just enough to set the adrenalin rush. When I came to know that it is the debut movie of my heart throb Prithviraj in tamil movies, I was counting the days for its release. Do I need to say that presence of my other favourites Gopika & music by Vidaysagar just added the excitement? Somewhere I read in an interview of K.V Anand that he was making a "commercial" movie with three fights and five songs including a carbaret number. Admitted he made the movie within the commercial parameters but how much he dared to be different makes us to applaud Anand for his directorial debut vehicle.

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Kana KandeinIt is a romatic thriller, not just romantic one as the title suggests. It is all about three main protagonists a PhD scholar Bhaskar (Srikanth), working for a noble cause, Archana (Gopika) a modern girl who stands up for her beau's hardwork, and Madhan (Prithviraj) a suave money lender with impeccable behaviours, whose intentions are anything unhonourable. Bhaskar, being fed up of banks' beaurocratic ways to fund his desalination project, lands up in the doors of Madhan, an old friend of Archana, without knowing his true colour. Unknowingly they fall into his trap with an agreement that if Bhaskar is unable to repay the debts, he should handover the project rights to him. By the time they come to know about him,the noose had been tightened. How they manage to get out of it leads to impressive sequences and a taut screenplay.

One thing that's best in this story telling is the characterisations breaking the conventional rules of lead players. Hero Srikanth is an occasional boozer, unshaved and easily provokable while Prithvi, villian doesn't even touch a drink and is highly controlled in public behaviours, like he doesn't raise his voice, even while torturing. Heroine Gopika calls her assiduous husband to have sex, which is highly unimaginable in a chaste homely heroine. Prof. Vasantha (played superbly by small screen star Amirtha) is not a typical professor, she boozes and teaches Vivek about "mixing", and has a "broad" outlook towards sex (Can you buy an estate for a cup of coffee?). These out-of-box characters are well balanced by conservative characters like Vanitha, sentimental mother of Gopika, Shalini as dasmel in distress who suffers in the hands of Prithviraj.

Story takes its own time to reach to the right track, while the first half is filled with romantic scenes that are delight to watch and novel picturised songs. It is like a typical mushy romance movie. K.V Anand has a flair for picturising the songs in an artistic manner. "Kalai arumbi..." is the first and best picturised number of the movie, with impressive fish eye lens and in the beautiful beaches of East Coast Road. Who said you need Mauritius to shoot a beach song beautifully? Anand creates the magic with Kasimedu and Pondicherry beach. Same can be said for controversial "Chinna Chinna Sigarangal..." that was shot brilliant in a granite quarry in Chennai itself.

Kana KandeinAn unmarried heroine shedding all her inhibitions to make love with the hero in a daytime, yet doesn't make a scene that they are not married, is bit bold for the otherwise conservative Tamil cinema. The way it was aesthetically shot, when the world is moving with its routine day-to-day chores, lead pair is making love. The on screen chemistry between Gopika and Srikanth is terrific. You can't stop wondering whether it is the same shy & coy Gopika you saw in "Autograph". Gopika represents the today's ambitious girls who balance their love life with professional. Her role comes as a refreshing change to conventional heroines of Tamil cinema.