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Tuesday 16 July 2024
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House Owner Movie Review

House Owner Movie Review

Production: Monkey Creative Labs Cast: Kishore, Lovelyn, Sriranjani Direction: Lakshmi Ramakrishnan Screenplay: Lakshmi Ramakrishnan Story: Lakshmi Ramakrishnan Music: Ghibran Background score: Ghibran Dialogues: Lakshmi Ramakrishnan

House Owner doesn’t have the template low and high graphs we often see in commercial movies. The story revolves around a rainy day in the lives of Vasu (Kishore) and Radha (Sri Ranjini), an elderly couple, who has made Chennai their home since quite some time. Vasu, who has retired from the Army, has been suffering from Alzheimer’s and Radha has a tough time dealing with her husband’s adamant and child-like behaviour. For most of the time, the scenes revolve around their activities at home, apart from the flashback episodes, which keep appearing often, featuring the couple in their younger romantic days.

The flow of the sequences here is generic and unpredictable, making it difficult for one to judge the genre of the film. A lion’s share of the scenes have Kishore and Sri Ranjini apart from ‘Pasanga’ Kishore and Lovelyn Chandrasekhar, who respectively play the former’s younger days. One of the positive aspects of the movie is the effortless performance by the artistes and the way their relationship touches us through candid moments.

There are a few characters, whose presence is made felt even without them appearing on screen. At a point, when you feel that the film is all about some of the interesting anecdotes from two phases of their lives with no detailing on other characters, there occurs an unexpected element, after which you are in for an edge-of-the-seat ride.

Sriranjini steals the show with her emphatic portrayal of Radha, a woman whose love for her husband is unrequited, even if she doesn’t get any of that in return. The character’s mix of sacrifice and frustration is conveyed with aplomb. Kishore comes up with a credible performance of a less-liked personality, though his dialect feels a bit contrived. The sequences that are set in present feels less directed and more real. The film, in no way, milks the lead’s mental condition for a few cheap laughs and melodrama, and that speaks volumes about the maker’s sensibility.

One of the major issues in the film is that Vasu’s stubbornness and his adamancy towards not leaving his house could have been substantiated in a better way, other than showing it only through his fits of rage.




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