Kannagi movie review:
In the landscape of Tamil cinema, “Kannagi” emerges as a film that paints a nuanced portrait of femininity through the intertwined stories of four women. Directed by Yashwanth Kishore, this emotional tale explores the lives of its protagonists with sensitivity and depth.
In Director Yashwanth Kishore’s newest cinematic venture, titled “Kannagi,” the significance of the title extends beyond mere nomenclature. Featuring a quartet of female protagonists hailing from diverse backgrounds and confronting distinct challenges, the film aptly embodies the essence of its namesake. Additionally, the characters’ names—Kalai, Nethra, Nadhi, and Gita—conspicuously form the abbreviation “Kannagi,” further underscoring the thematic resonance between the title and the narrative.
In each of the four narratives, the portrayal reveals a stark reality: it’s not solely men perpetuating patriarchal ideals, but also individuals who themselves face oppression, including women and transgender persons, who inadvertently uphold these norms, despite their intentions.
Kalai, a woman in her twenties portrayed by Ammu Abhirami, finds herself in a whirlwind of potential suitors at the behest of her traditionalist mother, played by Mounika. Her sole ally in this endeavor is her open-minded father, essayed by Mayilsamy. Despite her mother’s fervent efforts to secure her daughter’s financial stability through marriage, Kalai’s prospects are persistently dismissed. Meanwhile, Nethra, portrayed by Vidhya Pradeep, grapples with the legal battle of her failing marriage. Accused of infertility by her husband and in-laws, Nethra’s steadfast belief in the sanctity of marriage is challenged as she uncovers the truth during courtroom proceedings.
Contrasting Nethra’s struggles, Nadhi, played by Shaalin Zoya, boldly shuns the institution of marriage, prioritizing companionship over societal norms. A staunch advocate for feminist ideals, Nadhi’s journey unfolds as she navigates life on her own terms. Lastly, Geetha, portrayed by Keerthi Pandian, finds herself entangled in the complexities of an unplanned pregnancy within her relationship with an assistant director, portrayed by Yashwanth Kishore. As Geetha grapples with the decision to terminate her pregnancy, the narratives of these four women unfold in parallel, their paths potentially converging in unexpected ways.
As the movie progresses, particularly around the three-fourths mark, viewers find themselves grappling with unresolved questions, left dangling on the edge of anticipation. At times, the film seems to reiterate the same message repeatedly, and certain scenes come across as overly dramatic and heavy-handed, detracting from the intended contemporary vibe. However, it’s in the climactic moments where the film truly shines, seamlessly weaving together loose ends and providing gratifying resolutions to lingering inquiries. Director Yashwanth manages to inject a refreshing twist in the climax, revitalizing the narrative and leaving viewers with a sense of fulfillment as the credits roll.
Despite the potential for impactful storytelling in today’s socially charged climate, the film underscores the reality that mere concepts cannot enact transformative change. While it bravely tackles pertinent issues and advocates for worthy causes, the narrative’s shortcomings overshadow its message, relegating it to one among many voices clamoring for attention in the crowded cinematic landscape. Consequently, it becomes one of many films echoing the call for societal change, rather than standing out as a singular, impactful voice.
