Kolamaavu Kokila Movie Review
Last time, we could completely get indulged unconditionally into a ‘Dark Comedy’ was Naanum Rowdy Dhaan. Especially, with a commonality factor called Nayanthara, it incessantly draws its similar lines with Kolamaavu Kokila. Director Nelson’s COCO sticks perpetually honest to this genre, particularly during its initial course. The limited characters into the drama, where they get their due dosage of prominence are a great spotlighting factor. Anirudh’s presence is prevalent throughout the film, where his BGMs do enliven even some dull moments. Yes, let us first look into the brilliant flashes of filmmaker Nelson. The way he tries to include the colour treatments to give a unique premise look or the narrative style he takes on are appreciable.
The plot of Kolamaavu Kokila remains so simple and might be considered to be a hackneyed one. Kokila (Nayanthara) has her life reflecting many hurdles that a common girl from a lower income group faces. The relentless assaulting attempts from perverted men and financial issues to be tackled make her life pitiable. In addition, her mother (Saranya Ponvannan) is diagnosed with Lung cancer, which pushes her to the verge of complications. An unexpected encounter with odd peoples barges her into uncalled for situations.
Filmmaker Nelson owns a unique craftsmanship in filmmaking. It is so much evident that his focus upon visual composing, set backdrops that include properties are commendable. The characterization of Nayanthara, where is completely driven by situations is neatly depicted. Except for few slow motion walks that actually form a major constituent of songs, which could have been minimized. But her performance and the way it’s presented during intermission point is the best. In fact, this remains as the powerful intermission sequence for a female centric movie after Aruvi. The next obvious attraction is Yogi Babu for his continuous offering of humour alongside Anbuthasan. Furthermore, the actor seen in the role of Tony is the absolute showstopper, where his episodes are completely enjoyed.
On the flip side, the post-intermission sequences tend to be pushed and pulled. The writing turns too ordinary and one can easily predict the forthcoming episodes. In fact, the way Nelson has written the narration would have given the right feel while reading it, but when it comes to visual translation, there is something lacking. We don’t mean to pull down his caliber. He owns the style of filmmakers like Vishal Bharadwaj (especially for his work in Kaminey). If he could just make up for the little improvisations over his next outing, he will definitely have a greater realms spread out.