Kokki Tamil Movie
Kokki is a rollicking yarn with committed performance from the principal actors and a pleasing air of malevolence about it. The film does not take the audience anywhere new but has a talent for freshening up old ideas and familiar situations, giving them energy and novelty which works in it's favor.
Sharp, incisive and crisp, 'Kokki' has a thread of naturalness running through it, despite the villain-and-vamp routine. And the pace is amazing! Before you begin to get a grasp of thing’s its intermission time.
Kokki acts as a comeback vehicle for both Karan and director Prabhu Solomon.
Here goes the story…
Kokkisamy (Karan) is a taciturn villager comes to Chennai. Subbu Raj (Malaysia Vasudean) who runs a salon takes care of Kokki. He helps get Kokki a job abroad.
One day, he chances upon a local thug Uppili (Kota Srinivasa Rao) who controls the city. Uppili is a strong believer in astrology and takes advice from his in-house astrologer (Manicka Vinayagam). As per the astrologer's advice, Uppili wakes up to the sight of an Ayyanar statue.
One day Kokki comes to Uppili's house to hair dress one of his men. That day, Uppili wakes up and sees Kokki instead of the statue. Everything that he does that day works in his favor. The superstitious Uppili now wants to have Kokki around as a harbinger of good luck. But Kokki refuses and his life was not the same from there on.
With the help of a local police inspector, Masanam (Shakthi Kumar), Uppili implicates Kokki in a false case and brands him as criminal. With a criminal record his dreams to go abroad collapse.
Kokki manages to escape from jail and is on the run, with Uppili and his gang along with the cops on his trail. He hides in a ladies hostel where he meets Raji (Sanjana), who decides to help him after hearing his story. The remaining story is all about Kokki escapes from prison and how he avenges Uppili.
Karan's performance in this film clearly eclipses his earlier achievements. With measured dialogues, dark make-up and apt body language, Karan shows that he is in top form and leaves a lasting memory. Similar applause must be given to writer-director Prabhu Solomon for fashioning an inventive and an inspiring movie.
Debutant Sanjana shows lots of promise. Kota Srinivasa Rao and Shakthi Kumar lend adequate support to keep up the momentum.
A major plus for this film is the racy background score by Dhina. However, his songs are icky and manipulative. Jeevan's cinematography enhances the feel further because he uses a candid style of candid style of canning scenes, which helps grab the viewer's attention. Editing (S.Sathish-J.N Harsha) is another solid aspect though at certain points a little confusion does creep in.
Kokki is a well-fashioned picture that leaves you thinking.
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