Film: Kadal
Director: Mani Ratnam
Cast: Gautham Kartik, Thulasi, Arjun, Arvind Swamy, Lakshmi Manchu, Master SaravananA Mani Ratnam film is always awaited with great anticipation. Coming as it does about three years after his ‘Ravan’, ‘Kadal’ had naturally raised high expectation. But apart from a few Ratnam-touches, the film disappoints. The screenplay is convoluted with its emotional quotient hollow and predictable. The master craftsman’s touches can be felt in just some moments, few and far between.
Set against the backdrop of a Christian fishing community, it is the story of good versus evil weaved through a love saga. The earlier part opens up promisingly. It has Sam and Bergman meeting at a seminary, the former exposing the latter’s misdeeds. Sam is a priest, patient, kind and forgiving. Bergman plays a self-styled Satan. Expelled from the place, Bergman vows vendetta.
Subtle, dignified and controlled as Sam, Arvind Swamy makes an impressive comeback. Arjun’s steely eyes and expressions give life to the role of the ruthless Bergman. The director sets the stage for an interesting conflict between the two men of contrasting natures. But in the second half the director fails to capitalize on the premise and the conflict. The characters are not well fleshed out in the screenplay and the situations lack depth and intensity. As a result, the performance of the duo soon loses some impact.
Bergman had challenged Sam that he would drive the priest to the pits of despair and test his endurance level. But Bergman is not shown taking any action on his vendetta plan for a long time. Nor do we get to see any of his dark activities.
Lakshmi Manchu impresses in a cameo role.
The love story between Bea, staying in a convent, and Thomas, the illegitimate son of a fisherman, evolves towards the second half. It is a cute fresh pairing between Gautham and Thulasi, progenies of yesteryear stars Kartik and Radha, respectively. The debutantes are naturals, uninhibited and expressive. It’s a smooth love track. But suddenly adding a psychological tinge to Bia’s character is laughable and fails to convince.
Also the lead to Bea’s background is a predictable one. The Bea-Bergamn episode could have been more clearly etched. The Ratnam touch is displayed in the sensitively crafted childhood scenes of Thomas. The two child actors essaying the early stages, emote beautifully, conveying the agony and insecurity of Thomas. But the climax, an action oriented one, falls flat.
What is outstanding is its captivating visuals (Rajiv Menon). The changing moods and tone of the sea and Thomas’s tryst with it as he goes through a happy-turbulent phases of his life, are brilliantly captured. But the picturisation of the songs falls short of Ratnam’s standard. Rahman’s music is another key strength, his background score enhancing the feel.
Taking about 164 minutes of viewing time, ‘Kadal’ is dreary and too long drawn out.