Her parents Gajapathi Naidu and Rajakanthamma, a Telugu family, had moved from Chandragiri, near Tirupati in Andhra Pradesh to Chennai for their livelihood. However, with movies that dwell into issues that have never been explored, it seems the viewers can expect an uprising of such products in Tamil.Jikki was born in Chennai on 3 November 1935. Also in some places, the film goes over dramatic. On the flipside, it’s unavoidable that you get a slightly off-handed feeling of a documentary hovering around Krishnaveni Panjaalai. But the song, Aathaadi and Un Kankal grabs your attention. And one get’s a feeling that the editing could have been better. Suresh Bargav’s camera ensures that you do not wander from the story by highlighting just enough that is required for the movie’s script. Baskar, Ajayan Bala, Renuka, Thennavan, Balasingh, Poovitha and Hemalatha have done a neat job of handling their roles. Krishnaveni is a film on mill workers and being the son of a mill worker, Dhanapal has the advantage of presenting it in a perspective mostly unknown to others.Īll the actors, Hemachandran, Nandhana, Rajiv Krishna, Shamugaraja, M. All these efforts are pretty evident as the characters wade in and out and gather your compassion as they appear onscreen.
#Krishnaveni movie movie
You learn that Dhanapal conducted a 30-day workshop preceding the movie’s shoot and that the movie has, for the first time in Tamil, a casting director – Shanmugaraja.
#Krishnaveni movie skin
The movie is dotted with actors who effortlessly slip into the skin of the characters they play. The stories unravel based on the timeline of the mill’s closure and as the characters go about their lives, it slowly dawns on you that they are jobless for about a year – all this while pulling through financial difficulties. The way the plot is structured is neat and on the whole the subject is treated with sensitivity. In a story that has myriad potential to be turned into a sappy and sentimental fare, Dhanapal Padmanabhan exercises restraint and presents an outsider’s look into the lives of characters. Somewhere there is a love story thrown in along with an honor killing by a mother who is unrepentant about her acts. The story circum-navigates people whose lives are entwined with the mill and how the functioning of the mill forms the fulcrum of their lives. The mill’s function is mired with incessant labor issues and ineffectual management. However, this gives a feeling of interrupted film viewing.Īs the name suggests, the movie is about the trials and tribulations of running a cotton mill. There is only straightforward storytelling, but the characters are somewhat neatly sketched out.
What you get is a minimalistic view of characters and their lives in the movie. To some extent, director Dhanapal Padmanabhan has managed a balance between commercial and art-house cinema in Krishnaveni Panjaalai.
Movies like Vazhakku En 18/9 tactfully straddled the thin line and provided us with a wholesome movie experience.
However, a perfect blend of art house cinema and entertainment is always welcome and is becoming the norm of the day. These are the days we are bombarded with commercial entertainers and these are also the times Tamil art-house cinema is almost beginning to sound like an oxymoron.
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