<p>Sakkare<br />Kannada (U) ***Cast: Ganesh, Deepa Sannidhi and othersDirector: Abhaya Simha G </p>.<p>A<br />Falling in love, being in love and its consequences on the boy, girl and families are concepts done to death in various ways by filmmakers who continue to look for new ways to ply their trade.<br /><br />And verbal bashing up of the opposite sex being the “in” thing, many interpretations are offered, leaving the mostly young audience a little dissatisfied and confused. Once in a while comes a film which tries to set right what is perceived as popular notion, sticking to the simple happenings of real life.<br /><br />Sakkare is one such film. Peopled by Ganesh, Deepa Sannidhi, Anant Nag, Vinaya Prakash, Anu Prabhakar, Achyut Kumar and Rajesh Nataranga, Sakkare deals with a few crucial fallouts of romance: betrayal, heartbreak, and suicide. Abhaya Simha further checks out the most plausible solution: counselling. Neither professional nor amateurish. Just being there for a person who’s hurt is what matters most. When delineated thus, Sakkare becomes the go-to sweetener everyone depends on. <br /><br />But, even as the process of manufacturing sugar is time-consuming, this Sakkare too takes time to add flavour, and energy, to the cup of life. Suman Jadugar’s dialogues keep pace with audience expectation of a Ganesh film, even reproducing some of his oft-repeated dialogues. But the words that matter, just like in real life, are nearly lost in the din created by the fast-paced days of eternal search for peace and happiness. <br /><br />Dr Vikram Shrivastava’s camera does its job well and Harikrishna’s fondness for a particular approach towards solo numbers continues. Jo Ni Harsha’s editing is spot-on while the art department deserves a pat. Deepa and Ganesh are both proven performers, the former drawing viewers in with her vulnerable, yet come-hither eyes and ease in acting, and the latter dazzling people with his witty retorts and dialogue delivery.<br /><br />Their work leaves behind more expectation — emotions generated take time to register. The director has taken definite steps towards mixing artistic sensibilities with commercial aspects. His craft is evident in the Anant Nag-Vinaya Prakash segment but a languid approach is the spoiler. Sakkare, left in the open for long, always attracts attention — of the unwanted kind.</p>
<p>Sakkare<br />Kannada (U) ***Cast: Ganesh, Deepa Sannidhi and othersDirector: Abhaya Simha G </p>.<p>A<br />Falling in love, being in love and its consequences on the boy, girl and families are concepts done to death in various ways by filmmakers who continue to look for new ways to ply their trade.<br /><br />And verbal bashing up of the opposite sex being the “in” thing, many interpretations are offered, leaving the mostly young audience a little dissatisfied and confused. Once in a while comes a film which tries to set right what is perceived as popular notion, sticking to the simple happenings of real life.<br /><br />Sakkare is one such film. Peopled by Ganesh, Deepa Sannidhi, Anant Nag, Vinaya Prakash, Anu Prabhakar, Achyut Kumar and Rajesh Nataranga, Sakkare deals with a few crucial fallouts of romance: betrayal, heartbreak, and suicide. Abhaya Simha further checks out the most plausible solution: counselling. Neither professional nor amateurish. Just being there for a person who’s hurt is what matters most. When delineated thus, Sakkare becomes the go-to sweetener everyone depends on. <br /><br />But, even as the process of manufacturing sugar is time-consuming, this Sakkare too takes time to add flavour, and energy, to the cup of life. Suman Jadugar’s dialogues keep pace with audience expectation of a Ganesh film, even reproducing some of his oft-repeated dialogues. But the words that matter, just like in real life, are nearly lost in the din created by the fast-paced days of eternal search for peace and happiness. <br /><br />Dr Vikram Shrivastava’s camera does its job well and Harikrishna’s fondness for a particular approach towards solo numbers continues. Jo Ni Harsha’s editing is spot-on while the art department deserves a pat. Deepa and Ganesh are both proven performers, the former drawing viewers in with her vulnerable, yet come-hither eyes and ease in acting, and the latter dazzling people with his witty retorts and dialogue delivery.<br /><br />Their work leaves behind more expectation — emotions generated take time to register. The director has taken definite steps towards mixing artistic sensibilities with commercial aspects. His craft is evident in the Anant Nag-Vinaya Prakash segment but a languid approach is the spoiler. Sakkare, left in the open for long, always attracts attention — of the unwanted kind.</p>