The Chennai TamBrahm milieu in RS Prasanna’s Kalyana Samayal Sadham – a curiously old-fashioned title for a film that’s very modern in many ways – is presented with a loving insider-knowingness that’s not been seen on screen since… maybe, Aaha. The usual jokes about girls being tutored in Carnatic music and Bharatanatyam (and boys in playing the mridangam) acquire a fresh sheen because we’re not laughing at them but with them. These characters aren’t the besh-besh stereotypes we’re often saddled with. They’re people who’ve moved on with the times – and yet, they stoop slightly under the weight of tradition. When Raghu (Prasanna) comes to see a prospective bride – Meera (Lekha Washington) – he suggests that they go out for a cup of coffee and talk. Her father squirms. He knows it would be terribly old-fashioned of him to refuse, and he reaches a compromise by asking a couple of kids in the household to “show Raghu the way to the coffee shop.” (Raghu knows, very well, where it is.)
The film depicts the dilemma of being young today and having to uphold the expectations that come from belonging to a very old culture. On the one hand, it’s the world of Facebook and priests who conduct rituals over Skype, and on the other, there are still cheques to be presented to marriage halls for big, fat (and very stressful) Indian weddings that neither bride nor groom are particularly invested in. They’re in this only because their parents want it. And then they find themselves in a fix. There’s a problem in the plumbing department – and since this is a family publication, suffice it to say that a PowerPoint presentation at an office, the next day, shows drooping line graphs. How do you portray a dramatic (and icky) issue in a light-hearted manner? Vicky Donor walked that tightrope exquisitely. Kalyana Samayal Sadham sets its sights lower. It wants to be little more than an innocuous, pleasant, crowd-pleasing entertainer, so you can’t fault it for what it isn’t – but there’s a lingering sense of what-could-have-been.
I couldn’t buy the contrivance of Meera’s father being completely unperturbed by this problem. And the film reaches for a few too-easy laughs – involving quacks and miracle cures (which are, however, debunked). I wished the splendid supporting cast (‘Crazy’ Mohan, Neelu, Delhi Ganesh, ‘Kathadi’ Ramamoorthy) had been given more to do – how often do you see all of them together? But more crucially, there’s never a sense of anything really being at stake. The director is right in wanting to avoid melodrama, but he veers too far in the other direction. Practically everyone is cordial, good-natured. It’s a refreshing change that Raghu and Meera aren’t opposites who snarl at each other, first, and then fall in love, but their extreme amiability presents a different kind of problem. There is no bite in their big fight, which is so low-key that it hardly registers – though it’s followed by a lovely (and equally low-key) conversation between Raghu and his friend (Raghav, playing the rare NRI who’s not a cliché).
The most remarkable aspect of this spat, however, is that it pivots on the word “wuss.” There is no attempt to translate it for the general audiences, ranging from ages six through sixty, and from the toniest A-centre viewer to the sweat-soaked farmer in a C-centre hamlet. This attitude – if you get it you get it; if you don’t you don’t – is a bracing sign for cinema from young filmmakers, and it’s possible when you keep your budgets low. Better still, the entire falling-in-love track – charted through the beautiful song Mella sirithaai – is outlined through Facebook messages in Tanglish. Too often, in the name of compromise, we end up with cinema that tries to please everybody and ends up satisfying nobody. For all its niggling problems, Kalyana Samayal Sadham doesn’t make that mistake. It knows who its audience is, and it speaks their language, secure in the knowledge that organising sangeet ceremonies or being cool with your fiancée in a backless dress doesn’t make one a “lesser” Tamilian.
And the leads keep us watching. Lekha Washington doesn’t have much to do, but she glides through the proceedings effortlessly, and the character of Meera strikes a major blow for the Tamil-film heroine by asking for a glass of wine and, at a later point, admitting that sex is important to her. This is an unapologetic representation of an upper-class urban woman. As for Prasanna, you want to build a small shrine for him simply for agreeing to play this part in a cultural climate where heroism is synonymous with machismo. He’s wonderful in the scene where he sees that Meera has finally accepted his Facebook-friend request. He’s earned it, and he doesn’t pump a fist in the air and go crazy – there’s just a small smile. This is a subtler breed of hero, who doesn’t need to advertise his emotions in neon lights, and whose masculinity is defined not by his prowess in the sack but by the fact that he lets his woman be who she is, who she wants to be. We’re not likely to see the likes of Raghu or Meera in a hurry, so I forgave them their overblown, la-la-land fantasy moment at the end. They deserve it.
An edited version of this piece can be found here.
Copyright ©2013 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Jetlagged
December 7, 2013
“is presented with a loving insider-knowingness that’s not been seen on screen since… maybe, Aaha. The usual jokes about girls being tutored in Carnatic music and Bharatanatyam (and boys in playing the mridangam) acquire a fresh sheen because we’re not laughing at them but with them”
Not the same scenario, but I got the same feel in Kanda Naal Mudhal, though it then went into the usual “i hate u and then love you” scenario. Thought it was because of a female directing it, who was more rooted in showing the “insider-knowingness” stuff.
Prasanna has always been bold in choosing roles that others might squirm at, be it in “Chennaiyil oru naal” or his earlier films like “Azhagiya Theeye”.
I kinda feel that they have let out the “surprise” factor. From Balu Mahendra’s speech at audio launch and what ever little interviews have been given, its kinda easy to guess the “wuss” factor, I guess 😀
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Prakash
December 7, 2013
After reading your as-usual extraordinarily sophisticated analysis of the given audio-visual input aided by your superior nuance detection and HD layer mapping, I did my usual cud chewing to figure out you liked the film. Or am I putting it across too bluntly? 😉
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Arun
December 7, 2013
The second half was bit disappointing. This film is watchable, nothing so good or great.
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MumbaiRamki
December 7, 2013
I agree with Arun paertially – except for the scenes where lekha bursts out , with prasanna putting up the traditional defense – i thought that was splendid .
Also , how did you forget to mention the inclusion of ‘ temporary’ , thought it was brilliant
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venkatesh
December 8, 2013
Isn’t Prasanna the director as well as the Actor or are there multiple Prasanna’s at work here ?
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James Gurung
December 8, 2013
Years of marrying first cousins has left Tambrahm men as wusses. One simply needs to see how Gurkhas and Autorickshaw drivers are enjoying in Mylapore, Alwarpet and Triplicane to figure out what a wuss is.
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Prakash
December 8, 2013
@James Gurung
“Years of marrying first cousins…”
Ah, the banes of the caste system. Though your argument that such regressive practices and the manifold harm suffered because of them are restricted to any one caste or state is piffle. Marrying first cousins/maternal uncles was and (in many places)is so commonplace in most castes and states as to hardly warrant any extra attention. With the exception of certain parts of north India where the “Khaps” are active, such “incestuous” relations have hardly been the subject of proscription, legal or otherwise.
Dravidian Pop culture, particularly cinema, has, for long, made it a habit to cultivate and deepen Tamils’ worst depraved stereotypes regarding the perceived “other”(Tambrahms, muslims and so on) while glorifying/glossing over those not-so-positive traits that it feels are part of their own culture(smoking, drinking, objectification of women et al.). Of course, it requires an equally depraved fool to buy it, and a bigger fool to peddle it as common knowledge.
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KayKay
December 9, 2013
Damn Prakash! After our last altercation elsewhere, I can’t believe I’m saying this:
I so, so, so agree with your response to James G 🙂
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KayKay
December 9, 2013
B, haven’t watched this movie, but after reading your line on the picturization of the “Mella Sirithai” song I checked it out on YouTube…and was blown away!
As you articulated, it’s so refreshing to see a song that’s blatantly pitched to the urban, Gen-Y (and Z) crowd, the ones who meticulously chronicle the minutiae of their lives on Facebook posts and timelines and tweet their innermost thoughts. And the picturization of it is absolutely ace!
After all, rural-based films make not the slightest allowance to lifelong city-dwellers in making comprehensible some of the archaic practices, anachronistic attitudes towards women and specific codes of honour that demand the settling of scores via a machete unsheathed from the back of a shirt within the specific confines of their milieu, so why shouldn’t the urbanites return the favour?
Give me more of such scenes, I say!
Regards,
Proud Card-Carrying member of the latte-drinking, popcorn-munching, review-tweeting, FB status-updating, mall-trawling, friend-texting crowd:-)
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Govardhan Giridass
December 9, 2013
What what? Dr. Rangan has not yet been pilloried for liking a Tam-Brahm movie? Wake up wusses, get your prejudices into play and make this blog the great discussion ground in the sky that it used to be. And Utkal Mooganthy – where’s your dissertation? Missing scrolling through it without reading a word.
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Rahini David
December 9, 2013
Govardhan: Have you never noticed that Utkal writes only for Hindi movies? And the night is still young, the party is sure to begin. Let people watch the movie first. Oh Sorry. That is completely unnecessary here, right?
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Ceaser
December 9, 2013
@Govardhan Giridass
That’s great ,complain about the guy till he drops dead and then mourn the great loss . Not fair guys not fair:-)
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Prakash
December 9, 2013
@Kaykay
“Damn Prakash! After our last altercation elsewhere, I can’t believe I’m saying this:
I so, so, so agree with your response to James G”
Good. You just saved me reams of column space. Not to mention the bother of coming up with inventively insulting rebuttals and then having to punctuate them with asterisks to get through the spam filter. 😉
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Jus checking
December 9, 2013
Does wuss translates to ‘somba payya’ (payya as in thiruttu payyale , as opposed to in ‘paiya’ ) in vernacular?jus checking..,dictionaries doesn’t give locally relatable term..does it?
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Arun B
December 10, 2013
Conciously avoided reading your review till I watched this movie. My wife has been giving me a 4 month build up to make me take her to this movie. Though I secretly wanted to watch it too, I finally “gave in” tonight, in return for all the Avengers and Dark Knights I drag her to. Suffice it to say i earned enough brownie points for a potential superhero franchise worth at least 4 sequels. I have to say I had endless fun. I definitely got the Aaha vibe (without the blatant product placement – re-watched it recently and was shocked by the title song). All of the small niggles you pointed out actually ended up really appealing to me.
As a true blood TamBrahm who got married less than 5 yrs back in a very traditional setup no different than the one depicted, I could obviously identify with all the wedding rigmarole and the people depicted. But even outside of that I have to say the movie had the exact right amount of edginess for an “Iyer sex comedy”, for me to watch with my very conservative wife without being embarassed even once. There were definite ROTFL moments. The midnight masala line was truly hilarious – the Kabir guys needling grin was immaculate comic timing. The lack of too much drama or a nasty long drawn out fight was frankly a welcome respite from say something like a “Neethane En Pon Vasantham” which i found very grating. It helped keep the movie very light throughout and ended up leaving me with a very feel good vibe.
The scene I feel that didnt live up to potential was the crazy mohan scene. Not sure if he got to write his own scene here. But definitely flatter than what you come to expect from his presence. Maybe its the lack of re-“acting” from Prasanna. His gold standard to me is the maligai kadai scene from MMKR – “Enda… athuthu meeti poittiyame.. Kai ellam puducha izhuttiyame”. But I think that scene was made legendary because of Kamal and Gopi as well (“Mama, pulippu mittai!”). That level of comic chemistry was clearly missing here. But definitely top paisa vasool overall. Some of Lekha’s expressions seemed clueless but she was above average for the most part. Prasanna deserves major props for picking this script, this role and subjecting himself to the very apt title of “Pallu pona Raja”…
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MANK
December 10, 2013
@Kaykay,@Prakash
What’s this guys , Ajith’s PR manager and Ajit’s chief bete noire has agreed upon something. Terrible, is this the sign of apocalypse. What next a combined assault on vijay and his PR guys. Definitely missed prakash’s inventive insults and Kaykay’s even more inventive ones.
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Govardhan Giridass
December 10, 2013
@Rahini David: Utkal wrote a monumental comment on Mugamoodi in these pages where he continually referred to the film as Moogamoodi, thereby earning himself the sobriquet ‘Mooganthy’. Hoping that he returns to the fair shores of Thamizh cinema with KSS.
@Ceasar: Humble apologies. We realised that we had killed the goose that used to lay the golden posts and are hoping for a resurrection. (cc: Vasisht Das)
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Ceasar
December 10, 2013
@Govardhan Giridass
LOL
Just remembered this song
Dil Ka Suna Saaz Tarana Dundega
mujhko mere bad Zamana dhundhega
. 😉 . 😉
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Prakash
December 10, 2013
@MANK
Paraphrasing Dante, the only thing I wish to tell you is that the hottest places in hell are reserved for those who, in times of great Thala-Thalapathy clashes, remain neutral.
Cast away the cloak and wade into the cesspool I say. 😉
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Prakash
December 10, 2013
@Rangan
Just read your caravan piece(the word feels terribly wrong even as I am typing it). I am sitting here totally stunned. Just so that you know, that is not something that happens often, especially not after reading magazine columns.
Your writing is beautifully textured as usual, but for once, the subject matter(Vikram and Kenny) was the thing that completely blew me away. Words fail me in trying to capture my impressions of him. Some phrases spring to the surface like… grotesque brilliance…an astonishing depth of personality and yet….an almost animalistically(taking off from your animalistic, or is that not quite correct grammar, oh chuck it) crude streak he reveals in short searing bursts.
There’s something deeply unsettling about this fella, an almost hitchcockian feeling of foreboding. Honestly, I think he might have only been half-joking about that kittens-in-my-backyard reply.
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T_G
December 11, 2013
You have tried (sincerely, I’m sure) to make a below average movie look better!
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MANK
December 11, 2013
@Prakash
Dude, i prefer to be slipped into the second circle of hell(and would definitely take my cloak off with the company i would have 😉 ) rather than wade in the cesspool of you thala- thalapathy admirers who are definite to be condemned to the ninth circle round 4.. 😉
And Please save your fancy terms like deeply unsettling and hitchcockian feeling of foreboding for your autobiography . 😉 and mail this chiyan story to the guys whose primary concern is racing cars and fooling people by turning political thalapathys out of the blue . ;), that they would know that this is how truly great artists get the job done.
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brangan
December 12, 2013
Prakash: If that is how my writing comes across, I should just slit my wrists and die already 🙂
venkatesh: RS Prasanna directed. Prasanna acted.
KayKay: Join the club. It was getting a tad lonely in there 🙂
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Prakash
December 12, 2013
“And Please save your fancy terms like deeply unsettling and hitchcockian feeling of foreboding for your autobiography . ”
A. That comment was marked for BR and intended to describe the impressions I had gathered of Vikram from Rangan’s 6 page portrait of his life. In short, it had nothing to do with you unless, by your own(rather low) standards, you are Vikram’s PR Manager and just had to throw in your sound bite for every single reference to him. 😉 Seeing that you also recommend mailing the story to all and sundry, my suspicion gets stronger. 😉
B.One of the chief delights of the English Language for me is its precision. Even so-called synonyms are separated by degrees, manner of usage or even subtle differences in meaning.
While this precision is mostly redundant for the purposes of daily conversation, it does hugely enrich written communication. In the case of Rangan, and especially with regards to this particular story, I think I would be doing a great disservice to the man if I were to spit out something as banal and trite as ‘Good’, ‘Wonderful’ or ‘Fantastic’ when I have far more satisfactory adjectives at my disposal.
But since you seem to be ignorant of such finer matters, let me condense it for you: If you aren’t comfortable with my style of prose, bully for you! This ain’t your blog and no one is asking you to pore over every single comment I make like you are doing now, so take a chill pill. 🙂
C.Vikram has, undoubtedly, endured(and deliberately put himself through) far greater suffering than any other actor I can think of. Even those unfortunate souls who have died on the sets would have arguably gone through less pain than what this guy has experienced while alive. However, all these physical transformations are only part of “getting the job done”. And while he is a very versatile actor indeed, I would hardly go so far as to say he is the best I have seen, even in India. Acting is also about nuance, doing finely different takes of seemingly run-of-the-mill characters, and I am yet to see Vikram excel here as much as say, a Kamal(Varumayin Niram Sigappu) or a Naseeruddin Shah(A Wednesday). Part of this could be attributed to the fact that he is being offered more of the same since that has become his USP. But in the few instances where he has had “acting” roles that require relatively less physical exertions, such as in Raavanan and David, I have not been too chuffed about his performance. Not to say it’s bad….far from that, but it hasn’t been anything to go ga-ga over either.
D. You seem to be laboring under the delusion that all these so-called Star chaps need to bow to the great Vikram, since he is the best actor and therefore, automatically, becomes the ideal that other guys in the film industry need to be aspiring for.
In reality, they all have their own niches now and couldn’t give a damn whether Vikram starved for years or threw himself off a cliff, since they have a different function to play and don’t need to move in that direction at all.
This diversity is, for me, the beauty of Indian cinema. If you had your way, we would have no Ajith or Vijay or Rajini or MGR. Just Vikram and cheaper imitations of him. How very dull !!!
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Prakash
December 12, 2013
@Rangan
The above comment was meant for MANK. Can you add his name at the top or is the deed done? I guess he’ll read it anyways, since he seems to be reading all my other posts. 🙂 But just to clarify.
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MANK
December 13, 2013
@Prakash
Bravo brother , I am overjoyed to read this. You surpassed my wildest expectations 🙂 . but i would have loved it even more if you could have kept it short and cryptic rather than this epic rant, but old habits die hard i guess.. 🙂 .Still smoking the same old stuff huh.. :). And please don’t make yourself out to be so special that i follow you around , its BR AND ALWAYS BR that i follow.I don’t have a poor opinion of PR managers either, On the contrary i hold them in very high regard as i think many of the so called stars survive in the ind. only because of them. 🙂
i don’t know whether i didn’t put enough smiles to get it across to you that i was just having some sarcastic fun or is it me who’s taking your words too seriously,But anyway i got to tell you (with a very heavy heart) that i agree with you totally about what you wrote about vikram, Damn it i actually began writing the post pretty much in that vein when i your post came online and freaked out. Me and prakash thinking alike, no fcking way.So just put a smiley spin to it.Too bad you didn’t get it as you see i am not that linguistically qualified as you. Really he almost goes blind playing one role and almost goes crazy playing another one. Reminds me of what Olivier told Hoffman. ‘Try acting boy , Its much more easier’. and yes all this work hardly come to the fore especially in his recent monstrosities like thandavam(another blind man) deivathirumagal etc. I always preferred the vikram of saamy dhool , gemini to this. The actor who can put that extra edge to the regular masala fare. Guess i should have just posted it like that , it could have saved much of our time and space here but then again we wouldn’t have had the pleasure of your verbal virtuosity right . :). So keep your bullies with you , you may find better use for them elsewhere as i was just kidding the comment about your fancy lingo, , you took it so fucking personal(Or did you? can’t be sure , You’re such a cunning linguist 🙂 But if you did , let me say i love it as long as it is not aimed at me . 🙂
And my all time favs include MGR, rajni, redford,eastwood , Mcqueen along with the likes of Brando,Pacino,Dilip kumar etc and i respect them equally for their individual styles .So that would take care of your unity in diversity theory . 🙂
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Prakash
December 13, 2013
@MANK
No harm done. Peace 🙂
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somegirl
December 15, 2013
what a terrible movie
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Sreedevi
December 15, 2013
@arun
Even I felt the same. Crazy Mohan’s MMKR is the best. Not up to the mark in this movie.
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Ravi K
December 16, 2013
“It wants to be little more than an innocuous, pleasant, crowd-pleasing entertainer, so you can’t fault it for what it isn’t – but there’s a lingering sense of what-could-have-been.”
Agreed. Given the subject matter the comedy could have been pushed *a little bit* more, without being cartoonish. I’m sure there’s only so much they could have pushed the risque-ness of the film without running afoul of the censors. And I thought the “serial mom” stuff was a bit awkward and forced, so as to introduce greater conflict. But I’m willing to let all that pass, since this is a rare Tamil film that takes place in the real world with relatable characters and a rare female character who has some personality and individuality (and doesn’t have that execrable girlish voice dubbing). I also appreciated the acknowledgement of sex and sexuality, particularly from a female perspective.
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Ravi K
December 16, 2013
The throughline of the leads navigating their modern world while also honoring their parents traditions was well done, not just in the use of Facebook and iPads, but in the attitudes of the young people.
The bit with Delhi Ganesh and the newspaper in the opening credits sort of parallels the later scene in which one of Raghu’s friends pulls up porno on his cell phone. Together these two scenes show that impulses towards titillation are eternal, though they are more openly talked about today, and the nature of said titillation is now aided by technology and more graphic. Delhi Ganesh’s picture of a buxom woman in a tight blouse is rather quaint compared to whatever unspeakable acts were being performed on that cell phone!
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neaba
December 24, 2013
amazing review!!
liked it for the genuine characterization rather the cliched ones, second half was a bit dragging.
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thotsvandi
December 29, 2013
Just FYI if you haven’t noticed, in the title credits Meera and her brother fight, to be more precise she beats her brother with some poorikattai sort of thing and her mother scolds her “ipdi rowdy ponna irukkiye unna yaaru kalyanam pannippa” and Meera reciprocates ofcourse silently and angrily “ipdi wuss madiri irukkiye unna yaru kalyanam pannippa nu en avana pathu yarum kekka matranga?”. Anga nikrar director. She just uses that word when a guy is a coward, than to point his potency.
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thotsvandi
December 29, 2013
And that dialogue by a teacher after she reaches puberty, ‘if you want to talk learn to whisper ‘ and suddenly all the gals laugh and the boys wonder what is there to laugh 😛 – bold and naughty movie.
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Iswarya V
December 30, 2013
I got to watch this movie very late, and hence refrained from commenting. But seeing that the thread still seems alive, I have this one thing to say. The director deserves a major handshake for attempting to make a female wish-fulfilment fantasy as opposed to the unapologetic and unremarkably common male wish-fulfilment that happens in our movies all the time. I don’t recall anyone in the recent years doing this in Tamil. Congrats, RS Prasanna!
P.S. As a somewhat long-time reader, I have a vague memory of this director himself commenting on this blog somewhere. Does anybody else remember? Or was it just some other RS Prasanna?
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vijee
January 11, 2014
Yuck! Fooled by your review into expecting something much, much better.
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Rajesh
January 17, 2014
personally like the movie. it is a good movie. But cannot rate high. they could have tried to have more meat in this plate. but it is missing. watched ‘before midnight’ a day before watching kss. cannot compare both of them. but in just almost a day story they have discussed so many things. KSS could have also dealt many things. but it needs very very rocky writing.
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