Rating:3.0/5Sekhar Kammula, known for churning out light-hearted campus love stories, treads a path no other filmmaker would dare to walk on. In this process, he attempts to prove himself in a genre one could never imagine to see him make films in.
Although he struggles to emerge victorious on the chosen path, he makes us take notice his willingness to go against the grain with the Tamil remake of Bollywood film Kahaani, titled Ne Enge En Anbe. This is not a solid remake of one of the best thrillers in Indian cinema, yet there are moments that will persuade you to watch it.
You know for a fact that Kammula never tried to capitalize on the success of Kahaani because he decided not to include the pregnancy part in his story, but he still manages to surprise viewers with something equally unpredictable (as long as you don’t pay attention to details).
There isn’t much change in the story and akin to the original, a wife (Tamil Brahmin) lands in Hyderabad in search of her missing husband with whom she hasn’t spoken to in over two weeks. She seeks the help of a local policeman, who also happens to be a Tamilian, because she can’t speak Telugu.
They start investigating the case, trying to put all possible clues together to see if they can find something solid that will reveal what had happened with her husband. Will they or will they not find her husband?
Kammula was hell bent on convincing us that his version of the film is not a frame-to-frame copy of the original. It isn’t for most part of the film, but all those who watched Kahaani are likely to be disappointed because the names of most characters are not changed in the remake. The senior police officer is Khan, the terrorist is Milan Damji and the assassin is Bob.
Whenever you hear these names in the remake, you automatically tend to compare these characters with the ones from the original and realize their performances were not satisfying. No matter how hard you try not to compare both the films, you are forced to whenever you hear these names.
Old Hyderabad becomes a crucial character in the story. Kammula does his best to capture the flavour of the local culture when his lens zooms through the small alleys of the city, from the preparations of a Durga Puja to the busy and densely populated markee.
Here’s where you respect and appreciate the craftsmanship of the director for making the best use of his setting and making us realize the importance of the location from the story’s perspective.
Another reason to commend Kammula is because he ensures that most of the important scenes are shot separately in Tamil. However, he seems to have ignored the fact that it’s a Tamil film and has used too many Telugu dialogues, much to the disgust of the audience.