Film: O Kadhal Kanmani
Director: Mani Ratnam
Cast: Dulquer Salman, Nitya Menen, Prakashraj, Leela Samson
Exquisitely crafted, sensitively and sensibly narrated, with apt casting and some fine performances, O Kadhal Kanmani is a beautiful and an engaging take on modern day relationships. After the disastrous and not so satisfactory recent films of his, Mani Ratnam is back to the romantic genre, and back in form.
Set in Mumbai, the plot centres on two youngsters from Tamil Nadu – Adhi, who works in a video game development firm, and Thara, a budding architect. Both independent with their own aspirations and not ready for commitment, get attracted to each other. And from friendship move into a live-in relationship assuring each other that there would be no emotional commitment.
The movie is about how they come to terms with their relationship and feelings. It’s a very cute romance between Adhi and Thara from their first sighting of each other at the railway station, the scenes of their growing friendship having a natural flow. The pain of impending separation translated into constant bickering over trivial issues, are scenes one relates to. Dulquer blends perfectly with his role, essaying Adhi with instinctive understanding. Nitya is vibrant on screen, her expressions a delight to watch. And it’s their uninhibited and mesmerizing screen chemistry that is the key strength of the film. The youthful passion and exuberance of two youngsters in love discovering each other, is sensuously captured. Contrasted with the headiness of youthful love is the mature bonding between Ganapathy and his wife Bhavani (Prakashraj, Leela), and their touching concern for each other. Both actors fit suitably in their roles.
The film takes inspiration from Friends With Benefits. The characters and their attitude, some moments, even some lines seem inspired by the Justin Timberlake flick.
The technical side has coordinated ably to help translate the director’s vision to the screen. P C Sreeram’s exquisite cinematography and the warm rich tones he has used, elevate the feel and mood. Rahman’s songs suitably placed, blend well with the narration.
Their picturisation is not in Ratnam’s lavish, extravagant style, but more suited to the feel of the film. The Parandhu Sellava... song shot within the confines of a room is aesthetically captured. Nalla padathukku mokka climax, says a character in an early moment. This film’s ending would be one of the various options the director had, and it’s a plausible one too. But it could also be more of a sop to appease the conservative in the audience, for whom the live-in part would have been a trifle shocking to take! Contemporary, urban and youthful in its take, the film is worth a watch.