'Karuppampatti' settles with osmotic narration with equalled quotient of plus and minus for its varying reasons. First of all, debutante Prabhu deserves praises for bringing out a new fangled narration in a stereotyped family entertainer. Yes, family drama wasn't a piece of cake for many filmmakers, who is heavily embracing Hollywood formulas to elevate their standards. Prabhu Raja Cholan sticks to revive the 80s trend of entertaining us with a family drama laced with fun, sentiments, love and emotions.
Let's make it simple, Karuppampatti is a good attempt in terms of the technical aspect, but falls down due to weak script. You may come up with any script, but it's a strong screenplay that remains as a nitty-gritty element. This film, of course boasts of some top-notch qualities, but the sluggish moments and over dosage of emotional quotients though to a limited extent hampers the film reaching success status.
It's the fashion capital of the world - Paris and we find Kothai Cocopardo (Ajmal), after a tragic incident heading back to the native village in Tamil Nadu with the attempts of reuniting with his family. What becomes a hurdle is that his father (again played by Ajmal) had actually chiselled his family members looting their property to meet his demands in France, thereby letting them into extreme impoverishment. On his way back to the village, he manages to get in touch with his cousin (played by Jagan) and embarks on to find his family. Meanwhile, he comes across a beautiful village fille (Aparna Bajpai) and soon becomes her beau. Laced with some intriguing elements, the family drama travels alternatively with both engrossing and uninteresting moments, which if balanced could have been a better one.
It has been a long wait for Ajmal to score brownie points for his high potentials and finally somehow manages to put himself over the show. The guy really needs a tough role and its directors, who need to turn their focus on him. Offer him and he will do it - that's a distinct message indirectly conveyed by Ajmal through his performance in the dual role. Aparna Bajpai looks prettier than her debut film Easan, but doesn't get more scope to perform.
What strikes spectacularly next is the brilliant cinematography, especially in the locales of France. Earlier, it was Santhosh Sivan following a unique pattern and now it has been picked by Santhosh Sreeram and Sanjeev Sathyaseelan. Musical score by Kannan is middling and it could have much better to the stylishly shot visuals.
If director Prabhu had focussed incisively into the screenplay keeping it intact, he would have bagged a greater status at least half the level of his mentor Shankar.
Verdict: Okay... Can watch it once.
Review by Richard Mahesh
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