Balaji Shaktivel's Kaadhal seems to me to be one of the best films of the decade so far. It is certainly a highly realistic portrayal of urban life in southern India and, as such, is rare enough in itself. But the realism is not simply achieved by pointing the camera at the subject. There is real artistry in the way the film is put together.
Talking to young folk in India recently (not in Tamil Mandu but not a million miles away) I was struck by the desperateness of their search for some kind of intimacy (in the French sense of the word - 'privacy' we would more normally say in English). The omnipresence even in large towns of a 'small town' mentality, of watching eyes and busybodies ready to intervene at the slightest infraction of social codes. The absence of any places for young people to meet and be alone....
It is this atmosphere that Shaktivel catches so masterfully in the film. The way the camera allows us to see the gossiping women, the staring eyes, the curious neighbours at every stage of the film is an absolute marvel and creates better than any explanation could that stifling atmosphere of permanent surveillance of which my young friends had complained.
The magnificently realised scenes in the men's hostel are a sense the key moment of the film and the grimly farcical search for even a moment of intimacy (just so the girl can have a pee in the first instance) are actually very symbolic of this micro-political theme that runs through the film. The way a mini-flashback is used to show us a little of the history of the various men in the hostel and acquaint the audience with its inmates shows a deftness and economy that is characteristic of Shaktivel's thoughtful approach to directing.
The macro-political theme (the conflicts of class and caste) is equally well done. The superb scene in the car where the hypocritical uncle show his true colours is terrifyingly real and more frightening in its way than more overtly violent scenes elsewhere in the film.
The acting is consistently good (from the young boy at the garage to the friend in Chennai, from the grandmother from hell to the creepy uncle and the brutal father). The principals are both very good but the acting of Bharath is really exceptional. There is not a single moment where he overacts (and there are opportunities in plenty) or uses facile mannerisms or unnecessary gestures. It is a piece of naturalistic acting of the very first order (and a later Bharath film I have seen where ha plays a deaf and dumb boy - though not in itself such a good film - very much confirms his stature as an actor).
Kaadhal is a film that deserves to be much more widely known. I only hope this comment will encourage others to go out and find the film (available on DVD).
Talking to young folk in India recently (not in Tamil Mandu but not a million miles away) I was struck by the desperateness of their search for some kind of intimacy (in the French sense of the word - 'privacy' we would more normally say in English). The omnipresence even in large towns of a 'small town' mentality, of watching eyes and busybodies ready to intervene at the slightest infraction of social codes. The absence of any places for young people to meet and be alone....
It is this atmosphere that Shaktivel catches so masterfully in the film. The way the camera allows us to see the gossiping women, the staring eyes, the curious neighbours at every stage of the film is an absolute marvel and creates better than any explanation could that stifling atmosphere of permanent surveillance of which my young friends had complained.
The magnificently realised scenes in the men's hostel are a sense the key moment of the film and the grimly farcical search for even a moment of intimacy (just so the girl can have a pee in the first instance) are actually very symbolic of this micro-political theme that runs through the film. The way a mini-flashback is used to show us a little of the history of the various men in the hostel and acquaint the audience with its inmates shows a deftness and economy that is characteristic of Shaktivel's thoughtful approach to directing.
The macro-political theme (the conflicts of class and caste) is equally well done. The superb scene in the car where the hypocritical uncle show his true colours is terrifyingly real and more frightening in its way than more overtly violent scenes elsewhere in the film.
The acting is consistently good (from the young boy at the garage to the friend in Chennai, from the grandmother from hell to the creepy uncle and the brutal father). The principals are both very good but the acting of Bharath is really exceptional. There is not a single moment where he overacts (and there are opportunities in plenty) or uses facile mannerisms or unnecessary gestures. It is a piece of naturalistic acting of the very first order (and a later Bharath film I have seen where ha plays a deaf and dumb boy - though not in itself such a good film - very much confirms his stature as an actor).
Kaadhal is a film that deserves to be much more widely known. I only hope this comment will encourage others to go out and find the film (available on DVD).