<p>No emotions, no feelings, only work, says the hero to the heroine. That pretty much sums up “Nooru Janmaku”. There are sprawling bungalows, snazzy cars, Macau, casino showpiece The Venetian Macao and the icing on the cake, luxury liner Star Cruises... The director with a sense of social responsibility is obscured by one who dazzles the viewer with sweeping images of opulence. The director attempts to translate his take on the boom and subsequent recession with attendant consequences onscreen. But the story gets lost in the long corridors of the enormous interiors of the cruiser. <br /><br />The essence of the film comes through only in the climax — poignant, yet beautiful. In a song and a couple of scenes, the Nagathihalli of old can be seen peeping out of incomplete concrete structures, torn hoardings, the helplessness of a ruthlessly sacked employee etc., <br />only to vanish behind self-doubt. It is clear that the quest to achieve commercial success supersedes the writer-director’s sensibilities. The film races from scene to scene, leaving little room for impression. “Nooru Janmaku” shouldn’t have been an in-house video for hotel tourism...<br /><br />Aindrita’s confidence holds the film in place, despite her frail shoulders and outrageous make-up. Santhosh would do well to develop other expressions as well. Newbie Adarsh Balakrishna has that essential screen presence but is hampered by a mouth that refuses to open even while speaking! Sharan’s comedy doesn’t get full expression. Rajesh Krishnan should be commended for the remixed “Nooru Janmaku” song and for lending his voice to Santhosh. Ditto the artist who has spoken for Adarsh. Pataje’s work of beauty is ruined during the post-production work and the ‘stunning’ visuals fail to give joy. <br /><br />Time the director stuck to his convictions and gave wholesome cinema. A patient audience deserves atleast that much.<br /><br /></p>
<p>No emotions, no feelings, only work, says the hero to the heroine. That pretty much sums up “Nooru Janmaku”. There are sprawling bungalows, snazzy cars, Macau, casino showpiece The Venetian Macao and the icing on the cake, luxury liner Star Cruises... The director with a sense of social responsibility is obscured by one who dazzles the viewer with sweeping images of opulence. The director attempts to translate his take on the boom and subsequent recession with attendant consequences onscreen. But the story gets lost in the long corridors of the enormous interiors of the cruiser. <br /><br />The essence of the film comes through only in the climax — poignant, yet beautiful. In a song and a couple of scenes, the Nagathihalli of old can be seen peeping out of incomplete concrete structures, torn hoardings, the helplessness of a ruthlessly sacked employee etc., <br />only to vanish behind self-doubt. It is clear that the quest to achieve commercial success supersedes the writer-director’s sensibilities. The film races from scene to scene, leaving little room for impression. “Nooru Janmaku” shouldn’t have been an in-house video for hotel tourism...<br /><br />Aindrita’s confidence holds the film in place, despite her frail shoulders and outrageous make-up. Santhosh would do well to develop other expressions as well. Newbie Adarsh Balakrishna has that essential screen presence but is hampered by a mouth that refuses to open even while speaking! Sharan’s comedy doesn’t get full expression. Rajesh Krishnan should be commended for the remixed “Nooru Janmaku” song and for lending his voice to Santhosh. Ditto the artist who has spoken for Adarsh. Pataje’s work of beauty is ruined during the post-production work and the ‘stunning’ visuals fail to give joy. <br /><br />Time the director stuck to his convictions and gave wholesome cinema. A patient audience deserves atleast that much.<br /><br /></p>
