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KO – JIIVA’S STUNTS AND KARTHIKA’S EYEBROWS!
- By Anuja Chandramouli
There are times when the average moviegoer is tempted to give in to bestial impulses and simply fling the popcorn at the mindless drivel that is unfolding on the big screen simply because one cannot take any more of simpering heroines, sickening heroes, and non – existent scripts. And then there are those rare movies, which have the distinction of being special because they give you your money’s worth. They justify the very reasons for which people head to the theatres-so that they can experience an amazing ride which will take them far away from the humdrum things in life on an action-packed journey filled with excitement and pure unadulterated fun. Ko belongs to the latter category.

  Ko
K. V Anand has delivered one brilliant package cackling with energy and high-voltage action. Ko is a taut and delightfully racy political thriller that keeps you riveted to the shenanigans taking place onscreen. Every scene is beautifully thought out and finely executed. Even the glitches in the flick turn out to be deceptive. It is a fine example of the highest echelon a masala film is capable of reaching.

The writers- K. V Anand and Suba deserve a standing ovation because the script is the actual hero in this film. The plot is interesting and the duo lead up to every twist and turn with an intelligence which is usually unusual in movie land where plot holes are far more common than the potholes in this part of the world and that is really saying something. Every character from the hero right down to the lowly ‘sidey’ characters is etched with perfection. And the dialogue adds zest and verve to the film. The near-flawless script single-handedly rescues Ko from the inevitable pitfalls.

The actors aided by the powerful script deliver some fine performances. Jiiva and Ajmal have meaty roles that allow them to bring subtlety and finesse to their characters. A pinch of charisma and a smattering of screen presence were missing but one can’t expect to have it all. Piaa Bajpai has a role that is tailor-made for her particular brand of impish charm and she rocks in it big time. The word ‘adorable’ has been bandied about with considerable abandon regarding her character and with good reason. It is a truly memorable character and like Asin’s Kalpana in Ghajini, Saro will live long in the annals of Tamil cinema. The main female lead, Karthika was disappointing. One cannot help getting distracted by her eyebrows that are arched so sharply that they give her a perpetually befuddled expression. Perhaps it was intentional, designed to get a wooden face to express something, even if it is not actually relevant. The supporting characters all turn in neat little performances that leave a lasting impression.

Harris Jayaraj is in fine form with Ko. The tracks are delightful and filmed well but truthfully, the movie could have done without them. The Ven pani number is a case in point. Unfortunately it was stuck in, at a particularly inappropriate moment and tends to make you grit your teeth but all is forgiven and forgotten when the movie resumes. The re-recording was also pretty impressive as it sets up a nice tempo that gives you an adrenaline rush and enhances the cinematic experience. The tight editing also deserves a mention.

Watching Ko is like opening your newspaper one morning and discovering to your pleasant surprise, that it has covered practically everything in your tidy little corner of the world and there is absolutely nothing boring in it. From the existing shape of politics in our country with ‘the hungry sharks and killer whales swirling around’ to the superstitions that prompt people to stoop down to new levels of depravity, the power of the lust for power to strip a man of his innate decency, and finally the premise that good can triumph over evil and hope over chaos, Ko covers it all and makes it entertaining and inspiring. For all these reasons and more, Ko is special and has done the industry proud besides kicking some serious booty!
Tags : Ko, Jiiva, Piaa Bajpai, K V Anand, Harris Jayaraj
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