A Nabokovian experiment gone awry
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In keeping with his “Crazy” tag, Sandalwood’s star director Ravichandran has gone on the hyper with his latest experiment Apoorva. With a subject that would have worked wonders with an astute, auteur director, Ravichandran’s egoistic self indulgence and a rather tame, pedestrian and predictable end puts paid to an otherwise scientalling poetic and painterly journey.
Like late artist M F Hussain, Ravichandran too has sought to design a colourful canvas of romance between an old man and an young, nubile girl, in the first flush of her youth. Totally inaccessible to his legion of followers, Ravichandran’s Apoorva is a celebration of art and aesthetics over commercial boxoffice prospects. In that he has done brilliantly.
However, with such a throbbing and tantalising subject, Ravichandran who also weaves and wefts a wondrous love tale, however, seems to be struck by creative fatigue towards the end, bringing down an otherwise esoteric experience to a banal one.
A loveless old man, all of 60 plus, is suddenly closetted within the claustrophobic confines of a multiplex lift when a nubile 16 year old thrusts her leg into the closing lift only to trip and fall into the safe hands of an otherwise bewildered man. Meanwhile, a different drama is being enacted outside the lift where a home minister is being held to ransom by a group of hoodlums seeking government fulfil its promise. As bullets and fear of death and horror engulf both the mall visitors as also the two occupants in the lift, Ravichandran’s takes viewers into an unexpected romance between the two.
Instead of carrying the spark of romance kindled in unexpected circumstances Ravichandran plays a safe bet and therein is his failure. Otherwise, Apoorva has all the stamp of Ravichandran the experimenter par excellence loaded with message and craftily designed film. Fans may thrash it but for the discerning viewer Apoorva is a study in the new avataar of Ravichandran.