Seenu Ramasamy’s latest, Kanne Kalaimaane begins with an extended sequence of a village festival. The sequence ends with a man dressed as a king (he is in costume) accosted by his moneylenders. They inquire about the locked house and demand their money. Now, the scene could have ended there. But Seenu Ramaswamy wants to make sure we see the irony, and thus, one of the moneylenders asks who he is dressed as. The man replies he is ‘Karnan’ and the irony is spat out as dialogue before the sequence ends. This need to spell everything out makes Kanne Kalaimaane underwhelming – it exists as a series of dialogues but never really transforms into moving cinema.
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