Bloodletting love triangle -- KD
THE ACCENT SHOULD HAVE BEEN ON TAUT NARRATION: Ileana and Ravi Krishna in KD.
KD
Genre: Romance
Director: Jothi Krishna
Cast: Ravi Krishna, Tamanna, Ileana
Storyline: When a girl's love goes unrequited, she goes berserk.
Bottomline: Love, loss and loopholes!
A selfish, snooty, callous girl who stabs her own brother to death for the sake of love, is suddenly glorified as a martyr in the climax — Jothi Krishna's heroine in Sri Surya Movies' `KD' (U/A), clearly confuses you. So does the title — even if the word is more a slang these days, used in a light vein. Especially because you have a naοve, straightforward hero with a guileless grin! `KD' is writer-director Jothi Krishna's second attempt at direction.
As the story unfolds in flashback that goes on for nearly three fourths of the film, you begin to yearn for respite. Love triangles are dime a dozen — Jothi Krishna's treatment is different but not slick. The film opens with a bleeding, bullet-struck Raghu (Ravi Krishna) lying unconscious on the roadside. Soon the scene shifts to the past.
Youthful ambience
An engineering college campus is the scene of action. Raghu, Priyanka (Tamanna), a State Minister's conceited sister, and the genial, kind Aarti (Ileana) are classmates. Raghu is drawn towards Aarti but the churlish and spoilt Priyanka decides that Raghu will be her husband. He's caught in a tweezers' grip, as he is unable to fight the mighty Minister and keep Priyanka at bay. The incorrigible brat who is so insolent that she slaps her own brother (Atul Kulkarni looks pathetic, to say the least) in full view of his menials, reminds you of Vijaya Shanthi in `Mannan.'
As a student Ravi Krishna's witticisms and humorous rejoinders are enjoyable. And comedy comes easily to Ravi. Dialogue is an asset in these scenes — so is Suman Shetty.
In expressions Ravi has come quite a way from his `7/G Rainbow Colony' days, though the same cannot be said of his dances. At best, they are better than what they were.
Jothi Krishna has to be lauded for his apt choice of heroines. However, you notice a lot of affectation in Tamanna's portrayal — she could have been more natural. With her simple, homely looks, Ileana proves a gentle foil. Also, it is refreshing to see the talented Ramesh Kanna after quite a while. Raghu's ploy of passing over his plan of action to his folks through an audiocassette is too ancient for words. Again, Raghu, who is bleeding after he stabs himself with a knife, goes straight up to the dais to get married, with no semblance of pain! Priyanka announces that she would end her life, turns around and pulls out a knife from the waist of a henchman. But none even attempts to stop her! And doctors, more often than not, have no part to play at such critical junctures in `KD'!
Special effects make an impact, though they aren't exactly subtle and unobtrusive. Cinematographer A. D. Karun's colour tones and lighting suit the ambience captured, but editing (Kola Bhaskar) could have bettered things. Yuvan Shankar Raja's music is a draw. His use of percussive beats (re-recording) in crucial sequences accentuates the impact. Of course, `Kadhal Vaasi ... ' is a chart buster and `Chumma ... ' hovers on your lips.
`KD' sustains your interest for most part of the first half. If Jothi had closed the flashback narration faster and had got on with the present, the tedium could have been avoided.
MALATHI RANGARAJAN
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