Padmini movie review: Senna Hegde, Kunchacko Boban’s comedy just about lives up to its minor ambitions – The Hindu
The enduring curiosity of an excellent part of the inhabitants within the private lives of different individuals will get a nod from filmmaker Senna Hegde within the opening credit sequence of his fifth movie Padmini. Because the credit roll on a black display screen, we get to listen to snatches of conversations from a marriage ceremony, of among the company sizing up the groom, of some others passing feedback on his brother who might be the subsequent goal for the wedding market, and of some judging the load of the bride’s jewelry and expressing dissatisfaction.
Often the tongues cease wagging for someday after a boy or woman is efficiently pushed into marriage, however within the case of Rameshan (Kunchacko Boban), a poet and a lecturer at a university, the conversations round him attain fever pitch simply after his wedding ceremony. Together with his spouse Smrithi (Vincy Aloshious) operating away together with her boyfriend on the marriage day, he turns into a laughing inventory within the village. A very good a part of Hegde’s film is about him studying to beat the taunts, however there are just a few extra problems for him to face.
Padmini
Hegde will get a shift in scene from the ‘Made in Kanhangad’ panorama of his earlier two movies — Thinkalazhcha Nishchayam and 1744 White Alto — and units Padmini in rural Palakkad. Screenwriter Deepu Pradeep, who co-wrote Kunjiramayanam with Basil Joseph, will get it proper to start with with a compelling theme, however the battle is obvious at instances in sustaining the 2 hour-long narrative.
A few of the humour, particularly the scenes involving Rameshan and his brother-in-law (Anand Manmadhan), helps the film in tiding over the deficiencies within the script. One other parallel observe entails advocate Sreedevi (Aparna Balamurali) and her ‘extra-caring’, poisonous fiance Jayan (Sajin Cherukayil). Just like the ‘Large Kahuna Burgers’ and ‘Pink Apple Cigarettes’ in Tarantino movies, Padmini has a fictional model in Jayan’s ‘Rareeram’ mattresses, the commercial shorts for which spill over into the interval break and after the movie.
But, that’s all for the quirkiness quotient of the movie, which in any other case proceeds tamely in comparison with Hegde’s earlier two outings and with none surprises for probably the most half. The scriptwriter fails in tying collectively every part convincingly in the direction of the climax, which appeared a bit too compelled. Some references to Thinkalazhcha Nischayam, his hottest film, additionally seem, as do references to Kunchacko Boban’s previous hits. Among the many three main women, Aparna will get extra scope for efficiency than the opposite two and will get as a lot display screen house as Kunchacko.
Ultimately, Padmini seems to be a light-hearted film which nearly lives as much as its minor ambitions.
Padmini is at the moment operating in theatres
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