Kadha Samvidhanam Kunchacko Malayalam Movie

Kadha, Samvidhanam, Kunchacko suffers from a serious lack of perspective, that's inexcusable when it comes to cinema that takes itself seriously. Or at least pretends to. Feb 13, 2009 By Veeyen

Kadha, Samvidhanam, Kunchacko suffers from a serious lack of perspective, that's inexcusable when it comes to cinema that takes itself seriously. Or at least pretends to. Haridas Kesavan's directorial venture could have been an invigorating thriller, had it not been for the umpteen conventional potholes all over that you could drive a truck through.

It does take some time to get accustomed to Sreenivasan playing Kunchacko, a no-holds-barred money minter who has chopped off heads and hearts on his way to the top of the world. Getting married to Anne Mary (Meena) prompts him to turn a few new green leaves, though he soon figures out that making amends ain't as easy as it seems.

I wouldn't know if it was a good thing that Kunchacko continually reminded me of barber Balan. I guess not. Apart from the slight menace in the voice or the solid gait, there is very little that would distinguish between the two. Which is why Kunchacko appears quite susceptible at times, even as he utters intimidating words in profusion. To cut a long story short, Sreeni looks simply and woefully miscast.

And then he falls in love and breaks into a song, donning those dark glasses and appearing all smitten. It's here that you rewind a good twenty years back almost and find the actor pursuing a visibly annoyed Karthika in Sanmanassullavakku Samadhanam. Never mind the atypical similarity, the actor thankfully seems to move about on familiar forte here.

When you come to think about it, there is nothing much that can be done here except indulge in some very familiar screen ploys, for the director tries to wring a few thrills from stuff as dried out as his leading man. . At about the central mark of this film, the base collapses with a thud, and all that we're left with are tons of questions and very few conceivable retorts. As the film plods along, the action becomes more inflated, more accidental, and more bizarre, yet it never becomes any more stimulating.

I could see the grand finale toppling down in tumbles way long before it was all over. What's regrettable about it, as far-fetched as it is, is the ineffectuality associated with it. When one dabbles with something as complex as psychology, one needs to get his facts and figures spelled out by the book. But there is little authenticity here, measured in terms of any amount of cinematic freedom and even lesser subtlety and restraint

Perhaps the journey of a redemptive spirit that seeks absolution for past sins does hold tremendous cinematic promise. Where it falters though is when it makes its revelations that are shamelessly manipulative. And for those of you who have been blessed with that facility to put one and one together, there's near to nothing in way of suspense as well.

Plot progress is quite topsy-turvy here; it all starts off rather uncomplicated, gets unnecessarily intricate a bit later, and further ties itself into further knots and bonds. And then pathetically lies right there; lifeless, pokerfaced and stock-still.