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Kolamaavu Kokila Review: The first time we see Kokila (Nayanthara), the protagonist of Kolamavu Kokila, we see her asking superior about her raise. But he indicates that she should give him a different kind of raise so that he can take her case with the general manager. Her retort is one worthy of a mass hero, and it works mainly because it is Nayanthara who is delivering this line. It is the Lady Superstar’s ‘Unmaya sonnen’ (Baashha) moment.
The film is an out-and-out star vehicle that keeps giving its star whistle-worthy moments. And most remarkably, it manages to stay true to its genre – black comedy – and ensures that the script comes before the star.
Kokila’s family is your ordinary lower middle-class family. Her father (RS Sivaji) is a security guard, who considers even let his daughter discuss personal matters at his workplace – the ATM. Her sister is a college-goer while her mother (Saranya Ponvannan), a strong-willed, practical housewife, is the one who runs the show in this house. But when they learn that she has lung cancer, they are crushed. Worse, they will need at least ₹15 lakh for her treatment.
There is a subtle women empowerment message in this set-up. When her mother is resigned to her fate, Kokila asks her if she has chosen to be so because she is a daughter. And this provides her with the impetus to ensure that she earns the money required for the treatment. In fact, it is the women who call the shots in the film. When a murder has to be committed to save themselves, it is Kokila’s mother and sister who step up to the task even as her father turns into a wimp. Even Guru (Saravanan), the cop who is after them, is controlled by his wife.
But Nelson doesn’t make Kokila get into the drug-peddling business immediately after her initial encounter with drug peddlers. She goes through various channels seeking help, and none get her any further. We even see her meeting a rich man, who wants her to be his paramour. Thus, we never question her decision; in fact, it only makes us empathise with her decision wholeheartedly.
He populates this world with colourful characters, like an underling who gets too emotional, roadside Romeos (Yogi Babu is in form here) who is a subtle dig at the stalker-ish heroes of Tamil cinema, a drug dealer who likes to use cringe-worthy metaphors, and so on.
The film turns even more darkly comic in the second half once this family of simpletons also is forced to get into the ‘business’. It is all very hilarious and quite enjoyable, however, after a point, we begin to feel that the plot is running around in circles. Plus, we never get any indication of the cunning Kokila displays. She even does away with the men who she sees as a threat. We get she is ‘breaking bad’, but to this extent is something that the film never convincingly answers.
But the filmmaking is top notch, and displays an eye for tasteful aesthetics – shabby-chic settings, Sivakumar Vijaya’s gorgeously back-lit frames, coordinated costumes, even one-eyed tears… The use of songs recalls the approach of Vignesh ShivN – they take the narrative further even as they help maintain the playful tone of the film,and ensure that things never turn too dark.