Kadhal Konden Review :
Why should you sympathize a psycho and why should there be an inter-college festival in udhayam theatre for that. The reason is pretty simple. To watch Kadhal konden in theatre is a complete visual experience. Other than the visual experiences of tank-topped college babes in the theatre, the movie itself is filled with powerful scenes and dialogues that rocks your emotions as easily as a child’s play. On Saturday, Udhayam theatre was filled with boys and girls like a inter-college festival or rather I thought it was one.
Dhanush, the protagonist with his unassuming looks creates waves in you. As you see him making those clandestine dance movements while kicking his competitor-in-love during the finals scenes of Kadhal konden, you would be sure that image has nothing to do with heroism. This new kid on the block was the same guy, I dismissed at first looks as someone who would have bribed money to find his way through the first movie Thulluvatho Illamai. And today as he celebrates his birthday (maybe just 17th or 18th), Tamil dailies are filled up with half-a-page ads for the four of his new upcoming movies. As we start to know more about him those assumptions are ruled out. Kadhal konden is directed by Selvaraghavan who is Dhanush’s elder brother. He is the same guy who directed Dhanush’s first movie Thulluvatho Illamai, the only silver jubilee film of the year 2002.
A number of factors make Kadhal konden an interesting watch. First the story which is clearly told without any confusions by the director. Second, the contrasting screenplays in the first and the second half of the movie. Third Yuvan Shankar Raja‘s awesome BGMs and super hit songs. The final and the most important reason , Arvind Krishna, the cinematographer who has reached heights in this movie with this natural lighting and grading techniques.
Selvaraghavan’s screenplay does amazing wonders as he changes the path of the story from a simple college romance to an amazing pschyo thriller. And his clarity of thought which has made to build characters that stand in your heart throughout the movie. I jumped out of the seat to whistle as I saw Dhanush, making those amazing beautiful dance movements during the climax. It is one of the best thought about shot in the movie and that scene will stay in the hearts of the film-lovers until it is replaced by a better one. The movie takes a top gear just after 10 minutes of the start and never stops until the final smile of Dhanush.
Yuvan’s part is more than what he is being credited. Though some of his BGMs are inspired by pop music like Richard Marx’s I will be right here waiting for you, he creates the mood of the movie. Especially the theme music of the movie, which is the BGM in the climax, receives much credit for his composing skills. If only the climax was to be with some other music, the movie would have been less acclaimed that the present. All songs including the top hits Nenjodu Kalanthidu, Devadhaiyai Kanden and Kathal Kathal are good tamil music. Watch him closely. He is capable of improving the current trend of tamil music.
The classy work of Arvind Krishna will go unnoticed because his lighting is so natural that you would forget that there are lights around while making the film. Except in the flashback, where the crudeness has to be shown, he has used harsh lighting effects. If that flashback about pedophile and child-abuse touches heart, give hats off to Arvind Krishna for his immaculate contrast of lighting. Also the daring close-ups are something that cannot be expected from a new comer. Though this could be one of Arvind Krishna’s early movies, his experience as an assistant to P.C.Sreeram has added value to the photography. He also acted as an important character in P.C.Sreeram‘s Kurudhi Punal.
It is true that the second half of the movie reminds you a bit of Kamal’s Guna and it is also a bit dragging. But hang around because there is a very interesting climax for you. The shot just before the climax where the Cop, Divya and Adi hide behind a cushion sofa fearing the gun shots coming in, is just more than perfect. At that juncture of sheer fear and confusion, Yuvan plays a sober bit song. Bulls-eye. A similar shot can be seen in Mani Ratnam’s Kannathil Muthamittal and Spielberg’s Saving Private Ryan. The chemistry between Selvaraghavan, Yuvan Shankar and Arvind Krishna has been perfect that it contributes to the overall success of the movie. Recommended only for theatre viewing.