“life isn’t your bane, you are!”

This isn’t a typical comeback, but then with plausible child monotony, this could be a turnaround. Or, may be, it does act as a litmus test. Nevertheless, does with darned fortunes.

I am in joy with the city that possibly, and inevitably, made me. I am a believer in roots, and I have great inclination towards mighty legacies that have today’s larger blokes at bay. But I don’t think I care! Not for the old warhorses, but for the ones like me who live and eat passion.

10 years is a long time, almost! The core hasn’t changed, the people have probably become intrinsically lavish, the govenrments have rendered with ply-mouths and bandhs remain a cakewalk (tomorrow is one!!). But the charm is back, the vibes are alive and I come back to relive the days of evolution. Primitive but prerogative!

As I commute between 2 arms of Calcutta (‘Kolkata’ never really got in), I see altered landscapes with a flair of famished plunder. The ‘Calcutta’ I knew is still buzzing but what paves the way is the ‘Greater’ one. As a resident, I love to be admonished with a sense of newness. And with a wife, my days will be a feast. For her, and for my insanity towards this city of marque collage.

Welcome me 🙂

To begin with, let’s get the dialogue right.

Q: Was it worth the hoopla?
A: No. Pertinence of few hopelessly wounded individuals lay squashed beneath.

Q: Did it have enough to be termed as the ‘Blockbuster’?
A: To a large extent, yes. Except the narration (in the second half) that could have been crispier and the climax that should have been a raunchy affair, rest was quoted brilliance.

Now, for the review that I remain famished to gorge.

It’s a brilliant film that could been better by few notches. After all the misguided propaganda that the film garnered with ease, it revelled under the apt sun. And, our undisputed and quite phenomenally, Kamal Haasan is back. His screenplay, as always, was rhetoric in content and phased narration was nicely embedded. The script is borrowed intelligently from various incident prone subjugations and has his impeccable zeal to make it real. Directed well within his vision, Viswaroopam’s decorated closet includes Rahul Bose, Jaideep Ahlawat and Shekar Kapur (a cameo though). All give commendable performances, when we account for their presence in a frame that’s smeared with the mighty Kamal Haasan. The ladies have nothing to do in this game of havoc, Andrea was probably adamant to get herself wasted. Nasser’s is a bold act and he enacts perfectly.

The introduction of the real protagonist was a stunner and I went gaga over it (everytime). And remember, only Kamal Haasan can pull it off in a fit of ruthless debonair. The first half is splendid and takes you through the vintage problems of planet earth with consummate ease. The duels in Afghanistan are a visual spectacle and you are bound to get goosebumps. As the animated choreographer, he is adorable. His encounters with Rahul Bose infringe sparks in mellowed sequences and Jaideep as his closest aid is impressive. Significantly, both have spoken and dubbed in Tamil. It looks refreshingly odd and fits the need of the bill.

The final 15-20 minutes took me by surprise, disappointingly. After a scorcher of a first half, I expected a powerhouse climax. Unfortunately, Kamal probably kept too much of it in wraps in lieu of his sequel (that’s predictably in pre production). I get the noble thrill but eluded me of my insatiable proportions. Yet, Viswaroopam held sway in an emphatic fashion.

With contemporary liaisons dominating our surrounding lives amidst a pickle-like frontier of decaying charm, Viswaroopam enthrals adequately.

It’s not the typical Mani classic, neither would it fall in the lap of a run-of-a-mill commercial bolt. It plunges in to a zone that’s spurred by moments of brilliance and has Mani’s baton in patches of singing waves.

I have stated for sometime now and I continue to echo. Filmmakers make, create, introspect, visualise and evolve with times. Mani Ratnam has seen, made and failed with courageous attempts. Foiled with grace or sold with gratified poignance, his is a charm of unfolded parlance. ‘Kadal’ comes across one such product. His protagonists are extremes of our beloved life and the lead artists are beautifully etched as amateur players in the land of love and Jesus.

Veterans return with gaunt abilities and the script is woven around them to knuckle the initial pampers. Gautam Karthik’s space is a bit more stretched when compared to Thulasi Nair. Both appear to be talented, Gautam is your next door rugged youngster with a disturbed childhood and fanatic father. He essays his role with mobile restraint. Thulasi looks prettier than what I saw of her in the interviews, her role is carefully etched by Ratnam. Arvind Swami is back post hiatus and gives a performance within his limitations. But the pick has to be ‘Action King’ Arjun. A baddie from the word go, he becomes the bad boy of Jesus and has ambitions of being the ruling ‘Shaitan’. He gets that out well with provincial ease and gets a restrained end to his ‘invincible’ chores.

The soundtrack stands out, as is the case with all Mani ventures. ARR wields magic yet again and ‘Moongil Thottam’ stood out. My favourite, though, is the polar track of ‘Magudi’. An AR Rahman finesse, it looks out to be his muse in ‘Kadal’, throughout.

The difference between ‘Kadal – The Film’ and ‘Kadal – The Extraordinaire’ is Rajiv Menon. I, was awe struck as he toyed with water like a kid with his pantheons. Breathtaking waters with coconut trees and waves like a colossus, ‘Kadal’ is his famed menace. Bravo!

With an ordinary script, baking moments and Rajiv’s ultimate demeanour, ‘Kadal’ is worth a watch.