visakhthefried's video: Kanninnullil Nee Kanmani HD 720p

Kanninnullil Nee Kanmani is such a niZ song wat tu sy just love... The tale doesn't begin from the beginning but in the middle. The milieu is urban and though it is called Trivandrum Lodge, the story actually unfolds, where else, but in Kochi. What else do you say about a film, which proudly discusses the romance of two kids, who should be 7 or 8 years of age, with profound seriousness? Or the sexual fantasies of a married woman and her just divorced friend, who seems to have nothing else to talk about in life other than sex! This is a film where almost every character is sexually frustrated and perversion is being discussed as something normal. The narrative flits from one character to the other. Conversation can be described either as crude or modern, depending on your preference and expletives and innuendo are sprinkled liberally both in Malayalam and English. New generation? You guessed it. V.K. Prakash's film is dialogue heavy, thanks to Anoop Menon's convent-educated script that exploits the shock value of women talking casually about casual sex. The other characters also mouth witty dialogues but there are times when one gets the feeling that it is more like a play than a movie. It is a tough task for Jayasurya to play the brace-brandishing, dim-witted, unintentionally funny, endearingly innocent and sex-starved Abdu and he just about manages to pull it off. The story gains momentum as the glamorous and newly liberated (read divorced) Dhwani Nambiar (Honey Rose) moves into Trivandrum Lodge, peopled mostly by men. Her intentions not so honourable, the sexually-repressed souls go into a tizzy and their antics and excitement provide mirthful moments but the comedy of errors that the Anoop-Prakash duo intended with the hotel room scene - Dhwani makes Abdu act as her lover as her ex husband comes calling -- is not greatly convincing. Anoop Menon does justice to the role of Ravishankar, a suave and successful businessman and doting father and singer Jayachandran has a cameo as his father and small-time restaurant owner, in some ways reminiscent of the role Thilakan played in Ustad Hotel. While the director-scriptwriter duo succeeds in creating lively and well-developed characters, the plot fails to be gripping as it enters the most dramatic phase. The crisis that presents itself when authorities threaten to take the Lodge away from Ravishankar and his lodge mates dissipates on its own, without the main characters having to do any great battle. Is the writer offering a glimpse to a new morality that is taking shape in the society? Or is he trying to contrast Dhwani's search for sexual liberation with Ravishankar's faith in everlasting love? If there is a message for the audience that is not made abundantly clear. The film was in the news for being the first in Mollywood to make use of a helicam and cinematography is definitely one of the plus points while background score is another.