And he does something that is very difficult to do in our films: he gets the right mix of Tamil and English in the dialogues. He also does a hat tip to Indian myths by naming a couple Vishnu and Lakshmi. He name-drops both Christopher Nolan and Stanley Kubrick. It’s overtly derivative of Hollywood and the director himself makes no bones about it. The film is Karthik Naren’s Project Agni, and it’s a very curious creature. This is the hasya rasa ( comedy) but the one time I laughed out loud was in the next film, when the character played by Prasanna is thoroughly mindfucked and tells Arvind Swamy’s character, “Now, I’ll have the whisky.” Again at the end, we are left with a sense of generic-ness. Yogi Babu plays a Yogi Babu-like character: someone from a modest background becomes a big comedy star and returns to his old school to give a speech recalling incidents from the past. Do we really need to emphasise the sadness on someone’s face with two lines of a sad song? Isn’t the acting enough? Priyadarshan’s Summer of ‘92 is especially guilty of this, where the score is as non-stop like in a cartoon. It has some qualities that we see in quite a few of the films in this anthology: some great craft, some terrific performances, but also, an overall sense of generic-ness.Īlso, many of the films make you wonder if we should begin to rethink the purpose of songs and background scores. But the film is very wordy and doesn’t have the power that the premise suggests.
#NAVARASA NAYAGAN KARTHIK VIDEO SONGS SERIES#
And I loved Revathi’s big speech at the end, which is about a series of what-ifs. It’s certainly interesting as a concept, something like an interior monologue from a Dostoevsky novel.
0 kommentar(er)
