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There are different things to consider. Yazhini needs a vocation at this moment, however she likewise harbors an ambiguous desire that she can’t put into exact words. Kathir says that is alright. Objectives ought not be effectively caught on. The film is loaded with these flawless little non-dialoguey half-contemplations, which manifest when genuine individuals talk. Kathir has an objective as well. He needs to claim a bar. What’s more, till that happens, till he gets rich, he must watch what he spends. Note the scene where he pays for Yazhini’s breakfast and later requests that her pay him back. It isn’t only a clever minute around a man who needed to flaunt before the lodging chief. It likewise showcases his franticness.
Kadhalum Kadandhu Pogum, then, is around two boats — or possibly we ought to say sailboats — going in the night, on a stormy ocean. What’s more, we get a response to what sort of relationship could exist between them. Kathir and Yazhini turn out to be each other’s emotionally supportive network, a sort of help — for they appear to have nobody else to swing to.
There’s a ton of pleasant filmmaking here — however what amount is from the South Korean unique, My Dear Desperado, I don’t have the foggiest idea. Yazhini’s whole curve with her ex is so gently taken care of, we scarcely see it. Be that as it may, aside from a modest bunch of scenes, I wasn’t especially attracted to anything or anybody. I don’t felt anything for Yazhini when she was embarrassed by two or three questioners. Kadhalum takes quite a while to discover its rhythms, and the primary half, particularly, just stays there, energized exclusively by Santhosh Narayanan’s score. The arranger might be getting excessively secured, making it impossible to a sound — lavish, idiosyncratic, nearby — yet at any rate it throbs with life.