His acting is really subpar and his unnecessarily highlighted six-pack abs aren’t going to cut it. Karthikeya’s Dev takes most of the screen time yet says nothing important about him or about love. Digangana Suryavanshi, who plays her, does her best to do this role justice, even if she is constantly manipulated by the camera-Rajasekhar’s cinematography is decent enough-to stand and walk a certain way. Weirdly enough, she is simultaneously reduced to a cliche of a woman who runs after an average-looking man who doesn’t want her and gets hurt. She asks the man who is mighty pride of his hair to cut it as a declaration of love, diabolical, yes, but on-point with the film’s idea of affection. She knows how fickle love is, at least modern love is, and she is prepared to play games when it comes to it. She isn’t your vulnerable woman who cuts hr heart out and places it at her man’s feet. There are a few seconds of mild chuckles and insight, but even a dog, when allowed to bark for two long hours, can be as meaningful.Īmukthamalyadha, the female lead, begins as an independent character who knows her way around bikes and creeps. Not one interesting plot point that can bring some kind of understanding as to why the film and its people are the way they are. That is supposed to be a charming thing this supposedly charming boss does. At one point, Dev’s boss-played awkwardly by JD Chakravarthy-asks his female employee to hug her co-worker so that he’d feel less stressful. From the beginning to the end, the film hands out one problematic idea after another about women, life, sex, and men. There is a screen and there are actors playing parts, but I didn’t see a screenplay and I’m not going to look for one now. Krishna’s Sillunu Oru Kaadhal is not a strictly good film, but there is a visible effort to tell a compelling, at times moving, story. Rest of the story is about how their love starts to turn into a game where nobody wins and how far they go before reconciliation. Later, to our increasing frustration, we find out that the biker girl fell in love with him at that very moment as well. Anyway, the film is about Devadas, Dev, falling in “love” with a biker girl, while his current girlfriend is in his lap with her tongue rolled around his. Now, why is he called Hippi and whether the filmmakers know what a hippie is, is not relevant. Hippi, the film starts with a suicide attempt and ends with an attempt at tastefully-made porn. What’s more primitive than the story of the first man and woman? What’s a better way to deal with your hatred of women than to bring the biblical, evil Eve into the picture? There is a story for every filmmaker who wants to sound urban while also looking at women in a grossly primitive manner-a character in the film even goes as far as saying, women are made so that men can have sex with them, the same way lambs are created for them to be biryani. This film is about a sin committed by an unknown individual who gave the happily dormant N Krishna Milton’s books to read or the idea to make a film “deeply” inspired by them. Milton’s epically long poems are about many things, but primarily they’re about the original sin. I should’ve known then that I’m in deep trouble. The film begins with this: “Deeply inspired by John Milton’s poems”.
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