Anaamika arrives in Hyderabad to find her missing husband. She begins a relentless search for her husband. With nothing to rely on except fragments from her memories about him, all clues seem to reach a dead end when everyone tries to convince Naynatara that her husband does not exist. She slowly realises that nothing is what...more
Anaamika arrives in Hyderabad to find her missing husband. She begins a relentless search for her husband. With nothing to rely on except fragments from her memories about him, all clues seem to reach a dead end when everyone tries to convince Naynatara that her husband does not exist. She slowly realises that nothing is what it seems. In a city soaked in lies, She is determined to unravel the truth about her husband. less
“Anaamika fails to recreate the magic of Kahaani but strikes with its impressive background score and technical brilliance. Performances of Nayanatara, Vaibhav and Pasupathi make the film worth a watch.”
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The Tamil remake of “Kahaani” is finally out and unlike the original; it’s not solid but has some moments to make your watching experience memorable. Contrary to his light-hearted films, Sekhar Kammula has stepped out of his comfort zone and for once has tried to give us something partly interesting. He may not have succeeded cent percent in his attempt, but he makes us take notice of his potential to innovate with his story.
Nayantara plays Anamika (Tamil Brahmin), who lands in Hyderabad in search of her husband. A local policeman, also a Tamilian, decides to help her locate her husband, who is believed to be embroiled in a terrorist scheme. Most of the story has been adapted from the original and Kammula has done a neat job of recreating it against the backdrop of old Hyderabad, which in turn becomes an important character in the story.
Sekhar needs to be applauded for the fact that he took the effort and time to shoot most of the scene separately for the Tamil version. He, however, failed to accept the fact that it’s a Tamil film and using Telugu dialogues will only irk the viewers. While the Hindi dialogues had subtitles, the same was not used for Telugu dialogues. Why shouldn’t a film shot against the backdrop of Hyderabad have Telugu dialogues? I can understand that this would be the most common question ringing in the minds of the makes, but they also need to realize the fact that in Tamil Nadu, not much importance is given to other languages other than Tamil. Sekhar should’ve kept this in mind before retaining the Telugu dialogues in the Tamil version as well.
While the first half is extremely slow and fails to keep you hooked, the second half manages to instill some thrills. But I’m not sure if audiences will be patient enough to sit through the entire film, which has a very slow start. Unlike the original, Kammula has refrained from using the pregnancy angle and instead develops an interesting plot around the terrorism angle. I felt this was done extremely well and he deserves extra brownie points for executing it flawlessly. Nevertheless, all this happens too late in the film and it’s unlikely for Tamil audience to sit through it.
Nayantara in the titular does her best to fit into the shoes of Vidya Balan, but she definitely doesn’t live up to the rank of the latter in terms of performance. Instead of getting into the skin of the character, we see Nayantara using eyelashes and even makeup in some shots. I still don’t understand why was all this necessary because it kills the purpose of the lead role. I wonder why Kammula didn’t pay attention to these small details.
Vaibhav and Pasupathy play their parts well but I still don’t understand the need to make the latter speak English with an accent? The fact that some characters are named after the real ones from the original also turned out to be biggest turn off in the film.