A sequel, not really! It is just the return of the character
from the successful Muni. The original had managed to pack entertainment;
spooks, fun and dance into an almost delectable capsule and the sequel looks at
doing the same thing. So, is it more of the former or something that surpasses
the precedent set by the original?
Kanchana
is about a spirit and its thirst for vengeance; well, we all knew that, didn’t
we. No surprises there. Raghava Lawrence reprises the role of the constantly
terrified young man from Muni; we know what to expect here too. The novelty of
seeing a hero as a coward wears off very soon because we have already seen it
in Muni. But, Kanchana ends its similarities with Muni with these minimal
points. All other aspects of the film are original. The plots of most scary
films carry a flashback which details the reasons for the spirit lingering on
in the world of humans even after death. It is this flashback which earns
sympathy or wrath of the audience for the spirit and lends credence to the
entire story of vengeance. Full credit to the makers of Kanchana for putting in
substance and message into the flashback which takes the movie a notch above
hotchpotch horror films. Much else about the plot cannot be revealed here
because, being a suspenseful horror flick, they might really be spoilers for
those who want to catch up with the film in theaters.
As
is accepted in horror flicks; logical correctness of the central plot or
credibility of the ghost/spirit’s acts through others are matters that should
not be discussed, only experienced. And, Kanchana also demands that level of
submission and acceptance from its viewers. First rule for a horror flick to
strike it off with an audience is its ability to give the spooks; else it all
ends up as a high and dry ride. Kanchana aces this rule; it does manage to give
the chills and thrills wherever it intends to. The ‘experimental’ scene where
Kovai Sarala and Devadarshini try to confirm the presence of a spirit in their
midst is one of those instances. The good thing about the entire affair is that
the horror or spook quotient is always maintained in good taste! What does that
mean? The film does not contain any manipulative or artificial instances where deliberately
positioned cameras, sudden shrieks and elaborate shots from behind a character
create a sense of impending disaster. The director is honest with his audience.
Yes, there are a few instances of old school horror, with graphics and weird
forms appearing out of the blue, but it is strictly limited. But, it is not all
about horror and spooks. There is a generous sprinkling of humor with Raghava
Lawrence handling the portions. Lakshmi Rai seems to be around only for the
glamour. The film looks sunny and cheerful in these portions, especially when
he puts on his dancing shoes.
Horror
films demand very convincing portrayals from the entire cast; everyone has to
wear completely terrified and bewildered expressions for the excitement to get
to the viewer. In that respect everyone has done a neat job. It is not too
difficult for Lawrence, one would think, after having gone through the routine
in Muni. But, the climax portions where he is possessed might have been
physically demanding. Kovai Sarala repeats her mother act too and pulls it off
with her abundant experience. Devadarshini too is more than just convincing
with her portrayal. The ladies along with Lakshmi Rai have had to literally
carry Raghava Lawrence throughout the movie which, while still being a result
of spooky situations, does evoke a smile. Sriman does not have much to do and
one cannot help but think that Lakshmi Rai is worth more than the part that she
has got here, but that is what the script demands.
The
surprise packet however is Sarath Kumar. Who would have thought that an actor
known for his physique and action would pass off so well in the role of a
transgender? What would have made him take up this role? Well, the only guess
is that it is one character that does not conform to the long standing screen
stereotype of transgenders; people who clap their hands in funny manners and
ask for money from every second person. The film has shown them as people with
immense self-respect and ideals while also pointing out that being a transgender
is not a matter of choice but a congenital condition which cannot be helped.
The director deserves a big round of applause for introducing this perspective.
The
only let downs in the entire outing are the music by Thaman. While the songs
pass muster, it is the BGM which fails to add spunk to the spooky scenes; more
was expected from this promising young composer. The graphics too could have
been better, but we understand the budget limitations.
Overall,
Kanchana is a ride of spooks and chills, interspersed with moments of fun and
dance. The good thing is that the spooks and chills have not been provided just
for the heck of it; they look convincing and have an effect on the viewer. It
may not be a classy piece of cinema, but it does manage to engage a viewer who
is willing to give himself in to the central concept of the supernatural.
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