Kalamkaval Movie Review Story Cast More Filmywap Filmyzilla Tamilrockers Isaimini

Mammud and Vinagan play killer and cop in a story that takes a while to take off. The writing could have been better at times, but post interval things begin to fall into place with surgical precision and the final stretch is terrific. That’s a short take. A longer review follows and it may contain spoilers.

Darling Solar MCR Pure Carton Club formals and casual shirts. This festive season travel the world with grand royal tours. >> It’s the end of the year and absolutely nothing has changed in cinema which is my way of saying that Malala movies continue to push the bar. We’ll get to the story of Kalankaval in a bit but let’s first talk about the casting. You have a fair skinned good-looking man like Mamotei and you have a dark-skinned actor like Vinayagan.

The instant temptation would be to have Mamui play the good guy and Vinagon play the bad guy. But no, in Jinke Jos’s debut film, Mammudi plays a serial killer and Vinagan is the cop on the case. It makes sense if you were to look for an actor for a role that requires him to seduce a series of women, who better to cast than Mamui? I mean, which woman can resist him? In the first few minutes of the film, this character smoothly lies to his wife, smoothly talks to a woman he has been seeing on the side, smoothly smokes a cigarette after making love to her in a lodge, and then smoothly kills her. We should be appalled.

Instead, we want to applaud. This is not just performance. This is also social service. The next time any of us faces an agist remark, all we need to do is point to Mamotei and say that age is just a number. As terrific as he is on screen, he makes us feel better offcreen. Kalang Kaval is basically a fun pulpy B movie unlike say Viden and Munaripur to name two of my favorite films where Mamui played villainous characters but here he is a relentless.

lady killer and just seeing him stand still smoking a cigarette at a roadside shop while eyeing a potential victim is a masterclass in acting. His lips curve into a smile that’s first seductive and then sinister. The change in the smile is just a fraction, but the change in mood is a thousandfold. Vinayakan is equally good as a diligent cop who just won’t give up. He has a look throughout that suggests that whatever time it takes, he will get his man. This is a look of perseverance and persistence.

Even in the one scene he is shown with his family, he’s arm wrestling with his daughter. It’s a matter of who wins, but the scene carries an undertone. When this daughter grows up, she might be in danger from the likes of the man that Vinayakan is chasing. The most beautiful aspect of Kalanka is it suggestion that there are many women looking for something else. There could be single women looking for storybook love even if it’s an older man or it could be married women who lead unsatisfied lives.

One of the film’s most indelible images comes when we see a woman waiting on a bed. She waits and she waits. It’s a very sad visual. Of course, this is not the main point of the movie, but it’s there and it keeps you caring that the killer gets caught even as the fan inside you may want Mammui to somehow escape. Kalankul does not make any excuses for the man. There is no tortured childhood and his stepmother did not beat him or even if these things happened to him, we are not told about them.

The man is a psychopath, plain and simple. He is addicted to killing and the Vinagon character gets a great monologue about rats to explain how killing can get addictive. But I must confess that the first half did not impress me much. Yes, the actors are great, but the screenplay suffers from the need to have a big interval moment. So until then, there is a lot of repetition about the killer and his various victims. There is a nice technique used where the entire process from initial sighting to final killing is played out through various women instead of just the same one woman.

But it still looks too easy. There is no tension on the killer side of things. Most movies about killers unless they written by Bahul Romesh are about one of many things. They are about who is the killer or they are about what his motives are or it’s about how he gets caught. Here the identity is revealed right away and there is no motive as such. So the only mechanism of suspense and tension that the film has is the fact whether he gets caught or not and

if so how. Fortunately, this portion which plays out mainly in the second half works solidly and the last half hour is terrific. It’s a wonderful demonstration of misdirection thanks to a screenplay that relies on short scenes that keep crossing over from killer to cop, cop to killer. There is some concession to mass elements by staging a fight scene when you think that a squadron, an entire squadron of policemen would be involved, but the final blow is delivered by someone you don’t expect. And it adds an element of poetic justice.

In this last stretch, everything becomes better. the cinematography, the tension, the staging, and when we get a reveal, it’s a grand theater moment that makes you glad that you’re watching this movie with many other people who are experiencing the same high as you are at that exact moment. Kalanka is not perfect, but it doesn’t need to be. The two leading men and the final stretch more than gets the job done.