![]() Everything, like in life, is in a state of constant transformation. Like a flashback love story whose intensity is lazily qualified by a narrator.Īt its heart, Bangalore Naatkal is about change. Like the overly cinematic bike race at the end. These moments are so tender that you’re willing to forgive the film its needlessly filmy moments. You’re moved because of their shared past, which, again, isn’t really milked. Like when a fully grown labrador gambols into Prasad’s arms. It says so much without really spelling it out. Like the scene that has the latter filling up his entire refrigerator with Slice bottles. There is so much subtlety in the script, which affects so powerfully- especially in the track between Ammu and Prasad. It’d have taken some seriously dreadful filmmaking to ruin a tale as heartwarming as Bangalore Days. It made me well up at all the right moments, even if it didn’t get me laughing as much as the original. Just mark it as Saranya’s role.īangalore Naatkal quite worked for me, despite the aforementioned minor niggles. You don’t even have to write these roles in the script anymore. As for Saranya, she’s played the impish mother so many times that she could sleep-walk through these roles. If Fahadh Faasil exuded alpha male behaviour through quiet confidence in the original, Rana also brings to the party his broad frame and musculature. His heart doesn’t seem to be filled with as much desperation for acceptance, for love.īut there are some great casting choices too-mainly Rana (Prasad, Ammu’s husband) and Saranya (Kutty’s mother). His eyes don’t really seem to have had as many sleepless nights. Arya doesn’t bring that same explosiveness to the role. You knew Dulquer was a ticking time-bomb, that you’d have to step carefully around him. Arya, meanwhile, doesn’t seem like he’s as traumatised by his past (even though he says otherwise) as Dulquer was in the original. I quite missed the childlike glint in Nivin’s eyes every time his character does something that he considers blasphemous-like ogling at an airhostess, for instance. But I wasn’t really convinced that Kutty was as innocent as the film portrays him to be. Bobby’s character, Kutty, for instance, though the weakest character of the three (and hence, perhaps the narrator), is the light of the film, every time things get a bit too dark. Both Arya and Bobby (Dulquer and Nivin in the original) play their parts reasonably well, but I thought both lacked the subtlety and finesse of the original actors. I really liked Sridivya put aside her dubbing difficulties-awkward pronunciation and often, unnaturally shrill-and she really grows on you. Storyline: Three cousins discover life and love in Bangalore When a remake is as faithful, the crucial point of discussion is invariably the main difference-cast.Ĭast: Sridivya, Arya, Bobby Simha, Rana Daggubati, Saranya ![]() A few members of the cast reprise their roles from the original including Parvathy (RJ Sarah), Sajid Yahiya (a member of a racing group), and Sijoy Varghese (racing coach). It has even retained the same composer (Gopi Sunder), who, for his part, has retained the opening hit number, ‘Maangalyam’. With the exception of a few jokes, mainly in Kutty’s track, Bangalore Naatkal is a faithful remake. I can understand Goa, but does Bangalore really hold that fascination? Are there people whose eyes go as wide as Aju’s when talking about the Garden City? “Bangalooooooore,” he whispers with the excitement of a child who’s asking for an icecream. After all, as Aju awkwardly says on the eve of Ammu’s wedding, “What ye rocking city!” Aju talks of Bangalore like it is the place of every Tamilian’s dreams. It’s the return of the tale of three cousins-Ammu (Sridivya), Aju (Arya), and Kutty (Bobby Simha, with an obvious wig)-who set out to Bangalore with little knowledge that their worlds are about to be rocked. Bangalore Days, for the benefit of audiences in interior Tamil Nadu who presumably don’t really care for subtitles all that much.
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