KARUPPAMPATTI MOVIE REVIEW

Prabhu Raja Cholan, a former associate of director Shankar, has earned his first opportunity to be a storyteller through Karupampatti. The film is said to have been based on some real life incidents and it has been shot in France and rural TN.

Karupampatti is essentially the story of a young NRI attempting to retrace his roots and bestow upon them something, which has been long overdue.

The concept, even if it has been harped on about for years, is bound to strike a chord with the migrant community. The director also plays the family-togetherness card which may please members of the older generation. The treatment of the idea is not at all preachy or sorrowful; in fact there is comedy and jovial characters aplenty, thereby steering clear of the mega-serial effect.

Karupampatti is Ajmal's first big ticket as a lead hero in Tamil and one can sense that he is clearly enthused with the responsibility thrust upon him. He performs with high energy that sometimes borders along theatrical excessiveness. He plays two roles set in different periods with contrasting personalities and he performs with obviousness to enhance the difference. Aparna Bajpai has a sweet smile that she’s made to wear in most of her scenes but her role and scope is rather miniscule.

Jagan and Srinath have more prominence as contributors in the comedy department and their wisecracks and retorts don’t fail to evoke a giggle. The other cast members include character artistes like Balasubramaniam, Devadarshini and Chetan among others who ease through their roles as faithful family members. M.S. Bhaskar too chips in with some comedy in the first half. The international face Alice Tantardini appears only for a brief montage sequence and has little time to make any mark.

The overall production value of the film is quite good, especially in the song sequences that are enhanced with a lot of color and simple yet crafty art design. With the dance masters themselves making appearances in a couple of songs, the choreography is lively. The cinematography by Santhosh Sriram and Sanjeevi Sathyaseelan is quite deft with the usage of hand held work in the Paris sequences and capturing the earthy color of the village.

Prabhu Raja Cholan seems to have his course chartered precisely, to give a jolly ride coupled with a novel message for the whole family but has only let himself down with several inconsistencies. While the story is appreciative of the unity amongst village people he also introduces, for the sake of a fight sequence, a bunch of foul mouthed and misbehaving villagers as goons. There is also an incomplete romance set in the 70s.

By way of comedy and colorful songs, Karupampatti on the whole has a lighthearted and easygoing approach that makes you overlook the timeline and logical lapses and the cinematic liberties that have been taken. Let there be no doubt that this is a full blooded commercial family drama.

All these suggest that if the writing had been more rigid, it could have greatly succeeded in bringing families from far and wide for Karuppampatti.