Katheyondu Shuruvagide (2018)
Cast : Diganth Manchale, Pooja Devariya, Ashwin Rao
Director : Senna Hegde
Music composer : Sachin Warrier
Genre : Rom/Com
Synopsis : Tarun, the owner of a resort, finds a wonderful partner in his guest Tanya, over four days of togetherness
Rating : ā ā ā ā ā
"A slice of quality cinema"
Senna Hegde brings us a beautiful tale of a young resort owner and his depressed guest on a four-day journey. A fresh wave in Kannada cinema, this film tells every viewer how good cinema still hasn't lost its way yet.
Diganth does a wonderful job with his mature acting skills and so does Pooja, a refined actress. The film keeps you glued to the screen, thanks to the polished talents and watch-worthy shoot locations. Not a minute does the film bore you and manages to keep its audience intact throughout the film. The film never makes you cringe at any scene.
Hegde tries to keep the story raw and real (and succeeds, thankfully), but things sometimes go a little too beyond the line, like the forced wedding anniversary scene that looked rather overripe and awkward. Pooja deserves a special mention as she keeps her part raw and real, easy to relate to our own similar experiences and our emotions. Diganth's dignified acting was also quite admirable. The story revolves about how Tanya slowly overcomes her loss and gradually softens up to Diganth. The way the shades and hues of each character is portrayed adds another dimension, which lifts the entire film well beyond the mediocrity line.
"Keeps it raw and real"
Another interesting aspect is that every breakdown is kept very natural and not the filmy boo-hoo we have been used to. For me, some scenes such as the one in which Pooja sobs on the seashore, reminded me of the times when I wept bitterly that way. The dialogues remain short and crisp with meaning, respecting the value of every character's voice.
I also loved the importance the filmmaker gave to nature shots and transparency. Don't expect any cheesy duet songs in the typical hero-chases-heroine-tree-to-tree style, which turns out to be a huge relief. I admire how Hegde keeps the characters very lifelike and nothing larger-than-life. The feelings of loss, anger and betrayal tend to been the ones that affect us the most, which the film portrays beautifully. The most highlight-worthy aspect of the film is how it truthfully depicts human nature and emotion in its rawest form.
Sachin Warrier has scored very well too, with soothing tunes like Daariya and Bhoomi Baana. The music does a great job in setting the mood and reflecting the emotions on screen. The only flaw is the Good Morning song, a badly shot one and what's more, an unnecessary song too.
However, Pedro (oops, Ashwin) mixes in a generous dose of laughter and giggles in the potion with his wooing of Swapna (Shreya Anchan) and his dictionary. The feature that I love the most in this film is that every character has diverse feelings and both angles are featured in the film. Here, in the case of Ashwin, both his funny side as well as his hurt, tender side is displayed when he is shunned by Swapna.
The only disappointing ingredient turned out to be the climax. Only at that point does it prod the viewer to think how well the climax could have been. It is very easy for a film to sail through the past the interval and upto the climax, which is where the brains of the filmmaker is put to the actual test. Most good films start off very well but the climax ends up either too predictable or bland. A good film must always have a better climax, while a better film must have the best.
Overall, if you crave a breezy yet moving film to strike a chord within yourself, this is the right
one for you.
Director : Senna Hegde
Music composer : Sachin Warrier
Genre : Rom/Com
Synopsis : Tarun, the owner of a resort, finds a wonderful partner in his guest Tanya, over four days of togetherness
Rating : ā ā ā ā ā
"A slice of quality cinema"
Senna Hegde brings us a beautiful tale of a young resort owner and his depressed guest on a four-day journey. A fresh wave in Kannada cinema, this film tells every viewer how good cinema still hasn't lost its way yet.
Diganth does a wonderful job with his mature acting skills and so does Pooja, a refined actress. The film keeps you glued to the screen, thanks to the polished talents and watch-worthy shoot locations. Not a minute does the film bore you and manages to keep its audience intact throughout the film. The film never makes you cringe at any scene.
Hegde tries to keep the story raw and real (and succeeds, thankfully), but things sometimes go a little too beyond the line, like the forced wedding anniversary scene that looked rather overripe and awkward. Pooja deserves a special mention as she keeps her part raw and real, easy to relate to our own similar experiences and our emotions. Diganth's dignified acting was also quite admirable. The story revolves about how Tanya slowly overcomes her loss and gradually softens up to Diganth. The way the shades and hues of each character is portrayed adds another dimension, which lifts the entire film well beyond the mediocrity line.
"Keeps it raw and real"
Another interesting aspect is that every breakdown is kept very natural and not the filmy boo-hoo we have been used to. For me, some scenes such as the one in which Pooja sobs on the seashore, reminded me of the times when I wept bitterly that way. The dialogues remain short and crisp with meaning, respecting the value of every character's voice.
I also loved the importance the filmmaker gave to nature shots and transparency. Don't expect any cheesy duet songs in the typical hero-chases-heroine-tree-to-tree style, which turns out to be a huge relief. I admire how Hegde keeps the characters very lifelike and nothing larger-than-life. The feelings of loss, anger and betrayal tend to been the ones that affect us the most, which the film portrays beautifully. The most highlight-worthy aspect of the film is how it truthfully depicts human nature and emotion in its rawest form.
Sachin Warrier has scored very well too, with soothing tunes like Daariya and Bhoomi Baana. The music does a great job in setting the mood and reflecting the emotions on screen. The only flaw is the Good Morning song, a badly shot one and what's more, an unnecessary song too.
However, Pedro (oops, Ashwin) mixes in a generous dose of laughter and giggles in the potion with his wooing of Swapna (Shreya Anchan) and his dictionary. The feature that I love the most in this film is that every character has diverse feelings and both angles are featured in the film. Here, in the case of Ashwin, both his funny side as well as his hurt, tender side is displayed when he is shunned by Swapna.
The only disappointing ingredient turned out to be the climax. Only at that point does it prod the viewer to think how well the climax could have been. It is very easy for a film to sail through the past the interval and upto the climax, which is where the brains of the filmmaker is put to the actual test. Most good films start off very well but the climax ends up either too predictable or bland. A good film must always have a better climax, while a better film must have the best.
Overall, if you crave a breezy yet moving film to strike a chord within yourself, this is the right
one for you.
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