The guitars are brought to the front, and your mind is set to the rhythm that follows suit. Dhibu's work behind this song is highly appreciable as he has neatly produced a classical-rock song that is sure to keep your feet busy. Likewise, Oonjala Oonjala is a perfect suit for him. Sid Sriram's voice and tonality is such that he will find his zone in all genres. With no speed-breakers, Siva gives his best shot. An added surprise is Sivakarthikeyan's flawless rendition alongside Vaikom Vijayalakshmi. The usage of the flute is commendable, it adds a lovely flavor to this track that will put a smile on your face. GKB's lyrics are on point, and Dhibu's tune and BGMs are very appealing. This is a folk song that talks about the love for the daughter. Though she has very few lines, you most definitely want to hear more of her very soon. Vaayadi Petha Pulla is a cute song, to say the least! What a lovely debut for Aaradhana SK, her endearing voice is a delight behind the mic.
Even if they have got only a few lines to speak, they seem important to the narrative. Kanaa makes for an entertaining watch but you can’t deny it’s cliched.
Though the team resist him at first, eventually, they realise only he can make them forget their differences and play as a team for the country. You can’t help but think of Shah Rukh Khan’s role in Chak De India here. He is inspiring, canny and profoundly hopeful. I think for the first time he has attempted something different without any of his trademark quirks. He is surprisingly subtle and does what’s required for the role. In the second half, you see Sivakarthikeyan making his entry into Kanaa as Nelson Dilipkumar, a cricket coach.
For a debut filmmaker, he has done a great job. However, Arunraja Kamaraj achieves a fine sense of balance in narrating parallel stories without one overshadowing the other. Kanaa touches upon the plight of farmers, the difficulty to repay loans, the rising tide of suicides among them, and how they are forced to bear the increasing burden of uncertainty. The romance angle could have been stronger, but hey, I get it - women-centric film and all that. Murali Krishna (Darshan) pursues Kausalya, but she calls him ‘anna’, and you know where this goes. The first half takes its time to build-up, predictably. In particular, I quite liked the scene where Sathyaraj metamorphoses from a farmer into an advocate of women’s rights. A big thumbs-up to Aishwarya Rajesh, who has convincingly pulled off Kausalya. There is humour and there are also several poignant father-daughter emotions all through. Kanaa explores various themes including gender inequality, the ethnic and regional prejudice besides sexism that revolves around women’s cricket. Naturally, you root for Kausalya and want her to achieve her dreams. She comes from a place that considers ambition as a dirty word for women. Instead he says, “Indha pass fail ellaam sambadhikkaravangalukku dhaan… saadhikkaravangalukku illa.” When Kausalya says she failed in her final exams, he doesn’t yell at her. He defends his daughter in her absence, and does everything possible to make her happy.
He is, in fact, the ideal father that any girl would love to have.
0 kommentar(er)
