Directed by Anil Kumar Aalla, the film which hit screens for Sankranthi this year, is now out on OTT
Last Updated: 02.33 AM, Feb 18, 2023
Kalyanam Kamaneeyam, the light-hearted relationship drama starring Santosh Soban, Priya Bhavani Shankar, directed by Anil Kumar Aalla that released for Sankranthi, is now out on leading OTT platform aha. Devi Prasad, Kedar Shankar, Pavitra Lokesh too essayed key roles in the film produced by UV Concepts. After releasing to a lukewarm response in theatres, will the film resonate with streaming enthusiasts?
The film has an interesting premise. In a rare scenario, the girl, Shruthi, a software employee, takes the lead in a relationship and proposes marriage. The guy Shiva, owing to many reasons beyond his talent, is yet to find a job. Despite apprehensions from Shiva and his parents about the necessity of marriage in such an hour, they get hitched. Shiva’s problems only multiply with time and his luck is running out. Will it test Shruthi’s patience?
While the drama largely focuses on a misunderstanding between the couple because of Shiva’s faux pas, it doesn’t make good use of its premise. The resolution to their conflict is over simplistic and the drama lacks meat and depth to be a compelling feature film. In the hands of a capable filmmaker, it could’ve been an interesting examination of how man a falls prey to patriarchy himself amidst the pressure to earn and be in the good books to those around him.
A refreshing aspect, however, with Kalyanam Kamaneeyam, is how it says financial stability need not always be ‘the’ most important criteria in a marriage, at least above the understanding between a couple. The circumstances under which Shiva doesn’t bag a job, don’t exactly grab your attention. The so-called ‘comedy’ sequences about Shiva’s travails as a cab driver doesn’t work and the workplace harassment subplot in Shruthi could’ve been written better.
The director again misses the plot when Shruthi agrees to settle the EMI sum so easily, a responsibility that she had initially entrusted to Shiva. The ‘EMI’ pressure could’ve been an effective tool to contribute to the drama in his life. You keep expecting a juicier conflict throughout the film and it never arrives. A climax where the hero gets to showcase his machismo and Shruti’s father talks of Shiva’s maturity as a partner barely makes any impact.
Shravan Bharadwaj, who delivered fine albums like Natyam and Malli Raava in the past, struggles to find quality song situations in the drama and none of the songs enjoy any recall value post the viewing. Despite the limitations of a plot confined to the corporate corridor in Hyderabad, cinematographer Karthik Gattamneni lends vibrancy to the visuals, ably supported by the production designer Raveendar.
It’s evident that Kalyanam Kamaneeyam was meant to cater to an OTT audience than for theatrical viewing. However, as a script, it needed more redrafting and with the smarter utilisation of the conflicts, could’ve sprung a surprise. Santosh Soban’s struggles for the right material to prove his potential continue and Priya Bhavani Shankar merely skims the surface in a restrained performance.Devi Prasad, Pavitra Lokesh and Kedar Shankar do what’s expected of them while Satyam Rajesh and Saptagiri’s threads are just about passable.