Prabhu Solomon doesn’t miss to focalise on the depth of emotional relationships and his previous films Mynaa and Kumki have been the mere illustrations. With Kayal, he tries to complete the Love trilogy and let us see how far he has excelled with his attempts…
Socrates (Chandran) and Aaron (Vincent) are two freewheeling guys who have no worries in life. They earn by sweat and blood for particular months and they spend happily travelling for rest of the year. When they arrive in Kanyakumari, Socrates falls in love with Kayal (Anandhi) at first sight and she later develops a soft heart for him as well. They’re are alienated by situations and when they decide to join their lives together, the terrible Tsunami strikes playing havoc on their peaceful dreams. Will the nature play a spoilsport and let them united forms crux of the story.
Prabhu Solomon tries to exert his complete energy drawing emotions and has done it surpassingly in his previous movies through the characters. However here, we are little disappointed as the lead actors are always seen shedding tears. Anandhi has topped the league of star-cast giving a stunning performance. Her innocuous looks and naturalistic performance scores brownie points for her. Debutant Chandran gets a promising debut, but his characterisation could have been very well etched. Vincent as the close pal of Chandran tries giving his hand to humour. Others in the cast have tried to spell their best, but there is something that lacks in their characterisations. Nothing to blame on the actors, but Prabhu Solomon could have executed it in a neat manner.
Technical team deserves tons of appreciations. The cinematography, art department and D Imman’s musical score are the greatest pillars that relentlessly try to offer substantiality to the script, even at weakest links. The performance by Anandhi as Kayal deserves the best appreciations and marks our words! She’ll have her name listed in many nominations of the coming year. The performance of an old man is so realistic and such things pep up the film.
The film’s duration isn’t lengthy, but Prabhu Solomon fails to deliver a gripping narration throughout the show. Basically, this is almost like a short film that involves falling in love, separation and a surprising climax, but the method of storytelling is so bleak and flimsy. Especially, the second hour gets too sluggish and unwanted pathos could have been avoided. The film’s major portion is shot in the backdrops of Kanyakumari and we don’t see any characters rendering dialogues with the regional slang. How come an old woman who has raised Kayal from her childhood will casually ask her to go in search of a boy in Coimbatore? The relationship quotient hasn’t been very well depicted in this film and Prabhu Solomon should have scrupulously taken care of it. Prabhu Solomon had appraised his CG works and water simulation factors for Tsunami portions, but they look so amateurish in many places.
Kayal is musically exceptional with some best performances from Anandhi or else it’s a story of pathos and few engaging moments and a climax that separates from Prabhu Solomon’s previous films.
Verdict: Stops halfway to level of Kumki and Mynaa