“A poignant romantic tale that stirs the heart, with its powerful performance and soulful music.”
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What happens when commerce gets the better of creativity? Well, logic just goes for a six. Sans logic, Prabhu Solomon’s Kayal, caught in the Tsunami of its own maelstrom, floats like a rudderless boat on high seas, before the tidal wave sinks it into the ocean’s abyss.
Sadly, Kayal which begins with a pithy, philosophical and breezy prologue on how life should be lead, loses steam as the pedestrian saga progresses, sucked into the morass of its own mundane meanderings.
Actually, Solomon had a sizzling script. A roadie romance that, while taking audiences on a touristy sojourn across country’s scenic spots, could have coveted them.
While cinematographer V Mahendran with his scintillating photography ensures the vivid visuals are a feast for sore eyes, Solomon, however, turns out a woeful let down whose story does not hold much water.
Filled with clichéd and contrived situations, Kayal, actually turns out a trite and tiresome exercise, than a realistic rendered romance.
Despite its credit worthy technicality, Kayal, is done in by a witless, puerile plot that puts paid to Solomon’s grandeur designs.
As you follow his two footloose and fancy free, jolly, jaunting protagonists, and the inane incidents that they are driven into, you are left ruing a ruined Christmas holiday.
Poetic in capturing the verdant outdoors that the vast country provides across several states, Kayal, turns pedestrian when it comes to its pivotal plot.
In short, Kayal, expect for its tinkering of its premise, turns out déjà vu being set amidst the sylvan settings like Solomon’s earlier Myna and Kumki and reminiscent of earlier excursions. Even the background socre of Imman, a regular with Solomon, is a downer.