The film works better with a new actor playing the pretty boy.
When pathetic plot-less films like Oru Kal Oru Kannadi can become such huge hits, KLTA should easily manage to do better. I didn't even mind the predictability, given how plain funny the movie was. It has a dull beginning but quickly gets so much better. But it fills them with immensely funny, original sequences which open up as a neat plot. The structure is reminiscent of many older films like Devadaiyai Kanden, Boys or Bhagyaraj's Indru Poi Nalai Vaa, which has even been credited. Let me say it out loud: Kanna Laddu Thinna Aasaiya is a howlarious laugh riot. But very rarely do we see a laugh out loud film which works invariably on all kinds of audience. We try to make this richness available for everyone in the school, in a continuous attempt to question the givens and remain porous to an ever-changing world.There are films which simply manage to keep the tone light enough and walk away with the Comedy tag.
At the same time, by cultivating a broad and diverse network of artists, curators, organizers and theoreticians, we try to reinforce the connection between education, research and production, and to nurture an understanding of possible connections with other disciplines and fields.Īt DAS Theatre, each participant brings into the programme and the community new perspectives, questions and urgencies new cultural and socio-political angles and concerns new networks and contexts. By providing and co-creating conditions for research and work, we support participants in their attempt to re-think, or even radically re-imagine forms, aesthetics, practices and ethics, thereby widening the understanding of what theatre is, and pre-figuring and practicing the theatre(s) of the future. As a school, DAS Theatre aims at being a place of change that can potentially widen the understanding of art and its relation with society at large, and possibly contribute to shaping the future of the international performing arts field.
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