Karnan Full Movie Review Mari Selvaraj’s Karnan opens with the shot of a lass affected by fits lying helpless within the middle of the road. Vehicles still ply on each side of the road, but not one one stops. Theni Eswar’s camera rises above the bottom and goes up higher and better , giving us a God’s eye view of this tragic scene. there’s no divine intervention; actually , the girl dies, and becomes a Goddess — Kaattu Pechi!
The film then cuts to Santhosh Narayanan’s now iconic Kanda Vara Sollunga song. We see a whole village praying for the return of Karnan (Dhanush). And Mari Selvaraj establishes the mythical status of his protagonist directly . We don’t actually see his face; rather, we see his feet (splayed with blood, and trampled by the boots of cops), his hands (handcuffed), and his head (covered by a black cloth). We see who Karnan is thru the tattoos that the people sport, and therefore the painting that a painter does with fire.
Karnan Full Movie Review 2021
The film then goes back by a couple of years, to 1997, to narrate how Karnan became his people’s hero, how oppression are often insidious, and the way the bureaucracy stands by the side of the oppressor and even takes part within the oppression. The plot revolves around Podiyankulam, a poor village of individuals belonging to the oppressed communities which is refused a stop . Their powerful men (obviously of the dominant caste) of their neighbouring village, Melur, use this as a way to stay them contingent them. Matters come to a head when Karnan, an angry, young man from Podiyankulam, who is waiting to be selected within the army, decides to require things in his own hands. A bus is trashed, prompting the cops, led by the egoistic officer Kannapiran (Natty), to retaliate.
On the surface, Karnan might sound sort of a familiar tale of struggle between the oppressed and oppressor, but Mari Selvaraj’s detailing makes the film feel both unique and universal at an equivalent time. it’s quite almost like the conflict within his Karnan, who fights for the general public good and also for private reasons.
In the half , the director takes his time to line up the milieu and therefore the characters, which include Karnan’s side-kick of sorts Yeman Thatha (Lal, in another empathetic performance after last week’s Sulthan), his unmarried elder sister Padmini (Lakshmi Priyaa Chandramouli, effective), who is that the family’s breadwinner, his love interest Draupathi (Rajisha Vijayan, solid in her Tamil debut), her friend who is close to enter college (Gouri Kishan), her brother (Yogi Babu, who gets to play a personality instead of a comedian), his docile father (Poo Ram) and therefore the village elder Dhuryodhanan (GM Kumar) among others.
In Mari Selvaraj’s world, even the animals, birds and insects, from the eagles the steal chicks to dogs that scamper within the background, the cat that goes after thrown-away food, that the elephant that’s brought certain a celebration, the pigs within the sty, and even the bugs that are mating in rain are integral to the milieu, and he repeatedly gives us these throwaway shots to lend a real-world feel to the planet he’s building.
In the half , he gradually builds up a pressure-cooker situation that triggers a sequence reaction. Like in Maheshinte Prathikaram, where one thing led to a different resulting in the central conflict, here an offhand remark during a game results in a tussle, which results in a rupture , which results in a domestic friction, which results in a public spat, which finishes up in an act of violence. But Mari Selvaraj shows that sometimes violence also can be catharsis. He makes us look after the people and pity their struggles such a lot that when the whole village faces off against cops within the last half , the instant feels as exhilarating as when the one within the Avengers, when the superheroes combat the evil forces.
But before we get to the present moment, the director depicts how caste-based oppression works. Kannapiran considers being made to face amidst these ‘lowly people’ an insult and chooses to form them pay. The director makes us see that this is not a heat-of-the-moment decision but a calculated move by literally making him fish! Natty is deliciously wicked during this role. Even Karnan may be a thinker despite flying off the handle sometimes . He realises why Kannapiran wants to stay them servile.
quite the act of damaging a bus, Kannapiran is postpone by the villagers standing up to him; even their names piss him off (in Mari Selvaraj’s Mahabharata, Karnan and Dhuryodhanan are the great guys while Kannapiran is that the evil one)! We constantly get shots of him thinking through his actions, and Dhanush is extremely good in portraying these moments where he makes us sense the wheels delivering his head. this is often a less showy performance than the one in Asuran, during which he could get actorly as he was playing a 50-plus man, and here, he just has got to be, and therefore the actor aces it.
The only downside is that genre that the director goes for — with the sister-turned-Kaattu Pechi — has mixed results. While it helps us give Karnan’s personal stake within the issue, there are times when it feels overdone and breaks the narrative flow. The pacing, too, might encounter as slow, but this is often a slow-burn drama. In fact, the narrative (and Karnan’s character) mirrors the donkey which hobbles around within the village because its legs are tied. a bit like the animal, which sprints after Karnan manages to let it loose, the film, too, picks up pace at this moment, and never lets go of it until the climax.
Some may need issues with the movie’s call to arms, which is sort of a stark contrast to the pacifist tone of Mari Selvaraj’s previous film Pariyerum Perumal, but with hard-hitting lines like “Enga thirumbinaalum evanavadhu oruthan marachutu irukaan” and “Epaadiyavadhu pozhachu kedandha podhumnu irukku paaru namma nenappu, andha nenappu dhaan poora payaluvalum namma thala mela parangalla vekkuranuvo”, the director shows us Karnan’s helplessness. Sometimes, agitation is that the only answer for the oppressed.