With Kaadhal Konden, Selvaraghavan proved that he could
pick a story that had shades of earlier films but still give it a new spin with his screenplay
and direction. His talent at developing an engrossing screenplay populated with interesting
characters and his neat, earthy directorial style are evident in his latest offering too but
the predictable, cliched story does not offer him much leeway for them.
Kathir(Ravikrishna), is a lazy, good-for-nothing youth who spends his time smoking and drinking
with his similarly-inclined friends. Anita(Sonia Agarwal), whose family has recently fallen
into bad times, moves into the same colony. Kathir's appearance and behavior soon alienate him
from Anita. But Kathir, who is besotted with her, begins to change and the change has an effect
on Anita also.
Kaadhal Konden scored big on both its story and screenplay. While its story proceeded in
unexpected fashion after leading us in a familiar direction, its screenplay kept us engrossed
with its rawness and pace. But 7/G Rainbow Colony disappoints with an unoriginal story.
Its story of a wayward youth turning over a new leaf after falling in love offers nothing new
and cliched characters, like the guy Sonia is supposed to wed, don't help either. And while
Selvaraghavan makes it clear at many places that he is trying to portray life at its most
natural, some artificial scenes(the scenes where Sonia doesn't realise that she has her arm
around Ravikrishna while watching TV is the most silly one) stick out like a sore thumb and
reduce the effectiveness of the movie as a whole.
The distinction between hero and bad guy is further blurred here with Ravikrishna's
characterization. His initial words and acts clearly categorize him as a youth with no class
and he easily earns our revulsion with his language and actions. But his characterization
after Sonia's arrival is wonderfully done though. It reveals a youth unsure of his own
feelings and unclear as to how to reveal them. His explanation of his character just before
the intermission is one of the best scenes in the movie and his flip-flops between asking Sonia
to be "just his friend" and "his lover" are very funny. This characterization is the main
reason why the fact that Sonia could develop feelings for him is palatable inspite of the
way his character was presented earlier. Sonia's gradual change of heart towards him is
convincingly portrayed too but the behavior of her fiance is cliched and makes her job easier.
Most movies depend on 'big' moments that have an impact on the viewer either emotionally or
viscerally. But Selvaraghavan's strength seems to lie in small moments that last just a few
seconds but convey volumes because of underlying emotions or past happenings. For instance,
Vijayan's response to Ravikrishna's new job and Ravikrishna overhearing the reason for the
disappointingly low-key response are almost predictable. But their behavior in the morning
when they run across each other fleetingly in the living room is wonderfully awkward.
Similarly, Sonia's mother places her hand on Ravikrishna's head in the hospital just
momentarily but the act has so much meaning that it brings a lump to the throat.
Movies that start in the present and show the past as a flashback usually have a less
effective climax since the opening gives us an indication of how the flashback is going to
end. But here, Selvaraghavan uses the same technique to heighten the impact of the climax
by setting our expectations initially and then breaking them near the end. He also has
a little fun with us during the scenes at the hospital, making us think about what is
real and what is not. These keep us engrossed during the climax and ensure that it is
Ravikrishna does well in the role but credit probably goes more to Selvaraghavan who has
moulded the character such that it fits Ravikrishna's skills. But his dancing definitely
needs work and this is most obvious in the Kann Pesum... song which should have
been a lot more uninhibited to be effective. Sonia Agarwal is fantastic, revealing just
the right amount of emotion, whatever the scene. Her eyes speak a lot and her body language
is great too. Vijayan adds something new to the role of the father disappointed in his son. Yuvan
Shankar Raja, who seems to reserve his best work for Selvaraghavan, comes up with another
great soundtrack. Ninaithu Ninaithu..., Kanaa Kaanum... and Idhu
Porkalama... are wonderful melodious numbers and have us humming for a long time.
Naam Vayadhukku... and Janavari Maadham... are typical fun songs but manage
to be catchy nevertheless.