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(0.5 / 5)  : Poor (0.5 / 5) : Poor

Here is the last time. The plot is skinny and preposterous, and the script looks like a fishing net with holes large enough for the viewers to jump through.
Veeyen
   Mon, 27 Jun 2011
AUDIENCE
           
Rarely has a film confused me, as much as 'Kanakombathu'. I am still clueless as to where it had started off and where it ultimately ended up. But there is one thing that needs to be said. It doesn't really matter at all. All that matters is that you hold on for your dear life for the two hours and twenty minutes. This is especially important, since it's likely that you might feel that you have been staring at the Exit door for more than a couple of years.

A dear friend, who had expressed an uncharacteristic interest in the film, asked me if there wasn't a social message in the film. I assured her that there indeed was. The problem though, is the proverbial one of searching for that needle in the haystack. Here is a story, rather tons of it, that makes no sense whatsoever, and how does one expect to pay attention to the social note in the film, even if there was one?


For those interested, the social message has been stuck into the mouth of an activist by the name of Sidharth (Manoj K Jayan), who laments the slaughter of medical ethics. Good idea, we agree. But when the activist resembles a car stereo that fails to grab the FM signals, it could turn out to be messy. What I mean, is the aforesaid social message, never for a moment, rises above a long winding ramble that you fervently wish would stop once and for all.

So what's the film all about? Quite a difficult question, if you ask me. From what I have managed to gather, this is what makes the film. It starts off with a young girl (Mythili) who runs away from God-knows-where, to of course, God-alone-knows-where. She has a few mysterious nasty looking men trailing her, but fortunately she is in good company. There is this boy sitting next to her in the bus, Balu (Vinod Krishnan), who develops a sudden interest in her, and saves her time and again from the big, bad world. Balu, by the way, is a humanitarian sporting a beard.

They travel and travel and travel, by bus and by train. And then they walk and walk. All the while, the girl keeps asking the boy whether he would be able to leave her. Sheepishly, he agrees that he wouldn't dream of it. Until he receives a text message on his mobile reminding him that 'the time over' and that 'you should return'!

Get a hold over your racing pulses. The scene shifts to a boat on which a bunch of young men and women jump up and down, forcing us to believe that they are having a good time. The more accommodating viewer might even agree that it is a song, that's going on. Whatever be the case, after the highly embarrassing song and dance, we see Balu along with two of his friends Sameer (Deepusanth) and Jose (Vinay Fort) on a holiday resort, making life miserable for the other occupants of the place. And at night, they dress up like they are on the sets of 'I Know What You Did Last Summer' and in slow motion walk hither and thither before hopping on to a boat and heading , you guessed it, god-knows-where.

The only one person, who manages to keep his head above the water in this royal debacle is Vinay Fort. The actor who was seen in 'Rithu' and 'Apoorva Ragam' earlier is a natural performer, and with some brushing up on his dubbing could go miles. Mythili almost gets raped again on screen (after Palery Manickyam and Nallavan), but ultimately has a narrow escape this time. Everybody else gets embroiled in the muddle in no time.

Here is the last line. The plot is skinny and preposterous, and the script looks like a fishing net with holes large enough for the viewers to jump through. I would settle with half a star, and that is for rekindling thoughts of 'Manichithrathazhu' in my mind.
Critic: Veeyen
(0.5 / 5)  : Poor (0.5 / 5) : Poor

           

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