Kadhalil-Sodhapuvadu-Eppadi

Kaadhalil Sodappuvadhu Eppadi, the short film that won the name and fame for director Balaji Mohan gets made into a full length feature film produced by Sashikanth of Y not, co-produced by cinematographer Nirav Shah and Siddharth. Men are from Mars, women from Venus is the epicenter around which director Balaji Mohan spins his light hearted take on the ‘love’ goof ups of the youth in particular. Incidents of everyday life are strung together and there is something that every urban viewer can relate to the events on screen irrespective of age.
The story isn’t out of the ordinary but Balaji knows his onions well enough to keep the levity going on in full swing. Vim and vigor mark the proceedings of KSE and ingenuity of Balaji Mohan should be lauded who downs the hall in laughter with his wit-a-minute dialogues. The script scores well with its fresh treatment towards love (and goof ups) and there are no maudlin moments anywhere in the film.
There is a scene in KSE when Siddharth and Amala are at a restaurant wherein Siddharth appears to be thinking basically nothing. When Amala probes him, he replies in negative with ‘randakka randakka’ tune going on in his mind. Amala looks at people around her and thinks of numerous things and construes a different meaning to his ‘non-thinking’ which eventually leads to a goof-up. There could not be a better instance of showcasing the diametrically opposite nature of the two genders. When a man says he is not thinking of anything, he means it whereas for a woman there are more than 25 frames running in her mind simultaneously.
Director Balaji Mohan makes his presence felt in many scenes. The important role that technology plays in today’s lives in matters of heart is cleverly brought out by the facebook status sequence and the contact list in the cell phone. Siddharth’s parent’s normal reaction on seeing his facebook picture brings out the nature of contemporary urban parents. The conceptualization of Siddharth’s friend’s inability to score with the opposite sex right from his childhood is interesting.
Siddharth fits in perfectly as the clue less young lover who is adept in goof ups. His innocent and helpless expressions portray his character perfectly. Amala Paul’s youthful looks add value to her character and she has delivered a neat performance. Deepa Venkat’s voice works big time to bring out Parvathi in apt form. It is to the credit of the director and his script that we only see Arun and Parvathi and not the artists. In the supporting cast Suresh, Sri Ranjini, and Ravi Raghavendra deliver a credible performance while Siddharth’s friends are the major strong points of the film. Their very appearance brings the roof down and their mishaps with the girls are enjoyable to say the least.
Nirav Shah’s camera travels within the ambit of the script and never distracts the viewers from the narrative flow. Thaman’s music works in line with the plot with Parvathi and Azhaippaya number scoring well accentuated by Karky’s modern lyrics. The costumes and accessories of artists need a special mention as it reflects the dressing style of current generation and does not go overboard anywhere.
Balaji manages to hook the audience onto the happenings of the screen fairly well. Although levity is the buzz word in KSE and there is a love sodappal every minute, there are a few doddering moments where you feel the lag. Siddharth speaking to the audience every now and then comes across sometimes as unexciting nevertheless it is enjoyable for most parts.
Kaadhalil Sodappuvadhu Eppadi is sure to be a hit among urban youth. And for the remaining populace, there is something that they would connect with the film because gender related issues of heart transcend all kinds of barriers always. A promising debut, Balaji Mohan! Way to go!