<p>All that matters is perception - how people perceive an individual and vice-versa: only, the parameters of success or failure keep changing. A developing relationship brings in other facets of the complex human mind. Yogaraj Bhat’s ‘Manasaare’ presents a refreshing change - rain, that eternal companion of the romantics, is absent here, though peeping in from Kaikini’s lines... <br /><br />For ‘Manasaare’, the challenge is to dress up an abstract concept in the garb of common (or average) intelligence. The hero is initially dismissive of a society that treats him with cold contempt for his relative failure in life. A life-changing experience does not prepare him to face his fellowmen’s true nature under trying circumstances. <br /><br />On the brink of despair, he finds unexpected strength. There are several ‘inspirations behind the story idea, no doubt. With ‘suitable’ changes, the director tries to tell a complex tale in a simple manner. <br /><br />Helping him in the journey are cinematographer Satya Hegde, the art department, screenplay writer Pavankumar, composer Mano Murthy and the dialogues written by the director himself. But a sense of deja vu strikes whenever Manohar (Digant) utters platitudes or when he fantasises dancing with Devika (Aindrita) - people tend to compare Digant with Ganesh. But has the former just aped the Golden Star? <br /><br />Na... In ‘Manasaare’, Digant (like Aishwarya Rai) shows he can act. Aindrita with less dialogue, and easy on the eye, manages to emote well with her eyes and smiles. But when a film is made ‘manasaare’, it runs the risk of turning into a self-indulgent exercise. <br />The director takes care that this doesn’t happen but cannot pump up the film’s pace, held down by a couple of songs and scenes. The film has a sudden end and does not touch the viewer. Then again, ‘Manasaare’ may not be everybody’s cup of tea.</p>
<p>All that matters is perception - how people perceive an individual and vice-versa: only, the parameters of success or failure keep changing. A developing relationship brings in other facets of the complex human mind. Yogaraj Bhat’s ‘Manasaare’ presents a refreshing change - rain, that eternal companion of the romantics, is absent here, though peeping in from Kaikini’s lines... <br /><br />For ‘Manasaare’, the challenge is to dress up an abstract concept in the garb of common (or average) intelligence. The hero is initially dismissive of a society that treats him with cold contempt for his relative failure in life. A life-changing experience does not prepare him to face his fellowmen’s true nature under trying circumstances. <br /><br />On the brink of despair, he finds unexpected strength. There are several ‘inspirations behind the story idea, no doubt. With ‘suitable’ changes, the director tries to tell a complex tale in a simple manner. <br /><br />Helping him in the journey are cinematographer Satya Hegde, the art department, screenplay writer Pavankumar, composer Mano Murthy and the dialogues written by the director himself. But a sense of deja vu strikes whenever Manohar (Digant) utters platitudes or when he fantasises dancing with Devika (Aindrita) - people tend to compare Digant with Ganesh. But has the former just aped the Golden Star? <br /><br />Na... In ‘Manasaare’, Digant (like Aishwarya Rai) shows he can act. Aindrita with less dialogue, and easy on the eye, manages to emote well with her eyes and smiles. But when a film is made ‘manasaare’, it runs the risk of turning into a self-indulgent exercise. <br />The director takes care that this doesn’t happen but cannot pump up the film’s pace, held down by a couple of songs and scenes. The film has a sudden end and does not touch the viewer. Then again, ‘Manasaare’ may not be everybody’s cup of tea.</p>
