Lodde Review: A New Synonym for Nonsense

Published: 01st August 2015 05:33 AM  |   Last Updated: 01st August 2015 05:36 AM   |  A+A-

Lodde-Review

You watch Lodde (left-handed) and you know it is a delusive  title. But that is not all. While the content has nothing  remotely indicating any kind of left-handedness, the film  comes out as an out of control family drama put together by  director SV Suresh, who seems to be disenchanted with the  labour of filmmaking. The unfortunate part is that he  utilised a legendary actor like Vishnuvardhan for pointless  promotions rather than concentrating on creating a good  film.

The story revolves around control freak grandfathers  Dharmaraj (Sayaji Shinde) and Rudrappa (Avinash) who were  close friends living in Malnad for years until an incident  made them part ways. That’s when Lodde aka Narasimha (Komal  Kumar), grandson of Dharmaraj arrives from the US after  completing his studies and tries a reconciliation. He meets  Akanksha, the granddaughter of Rudrappa and falls in love.

Their love brings the two friends back together, however the  friendship is short lived as Narasimha cancels the  engagement as the film nears the interval. The second half  explores the reason behind it and how Narasimha tries to  bring the two families together.

The film has an abundance of puerile suspense sequences and becomes dull as it moves with no ounce of creativity or liveliness. The only sequence in which the audience get involved is just before the credit rolls and when the Lodde Dance begins, in which Komal shakes a leg with Vishnuvardhan, an effort made out of CGI.

Komal needs to have a more focussed approach when selecting  his films. And he has to fine-tune his selection of  characters, choosing only those which suit his persona. His  attempt at comedy falls flat in Lodde. And if he has to look  at a promising future in Sandalwood, he has to dump scripts  like this one at the one-liner stage itself.

As a debutante, Akankasha Puri surely stands out with her high degree of sincerety, but the film does not allow her to  make a mark. The predictable sequences lend no scope for the rest of the starcast to deliver even a mediocre miracle.  There is nothing noteworthy about the cinematography or the  music. A lack of inspiration seems to be plaguing the filmmaker  even though there are a few films that hit the screen on-and  off evidencing that excellence still exists in Sandalwood. 

But Lodde sheepishly announces that mediocrity will persist  however hard excellence may try to suppress it.

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