Kasada Thapara is a hyperlink dramatization composed and coordinated by Chimbu Deven, and delivered mutually by Venkat Prabhu and R Ravindran under the flags Black Ticket Company and Trident Arts Productions separately. The film has 6 editors, 6 cinematographers and 6 music directors. It is spilling on Sony Liv OTT stage.
Kasada Thapara is a bunch of short movies – Kavasam, Sadhiyaadal, Thappattam, Pandhayam, Arammpattra, and Akkarai, every one having a different music arranger, overseer of photography, and supervisor. Chief Chimbu Deven is known for testing a ton and astounding the crowd. This is one such acceptable endeavor.
Kavasam is the primary story that has Premgi and Regina Cassandra in the number one spot jobs. With music by Yuvan Shankar Raja, cinematography by MS Prabhu and altering by Vivek Harshan, the film begins an extremely fascinating note. If you can accept the rationale, the film pulls you in directly from the primary casing. The plot advances naturally, and the temperament of the film will cause you to feel wonderful. However, as the short film reaches a conclusion, it leaves you with unanswered inquiries.
Sadhiyaadal is the following short film with Sampath, Shanthanu Bhagyaraj and Sendrayaan assuming vital parts. The music is via Sean Roldan, cinematography is by SR Kathir and altering is dealt with by Raja Mohammed. What makes this whole film more captivating is the way that the inquiries left replied in the past short film show up as a curve in the following one. For this situation, Kavasam leaves you with a major ‘WHY’ as it finishes, and you find your solution in Sadhiyaadal. Also, when you know the appropriate response, when the bend is uncovered, rather than shock, you begin identifying with the characters in question.
Also, Chimbu Deven cleverly clarifies this data toward the beginning with illustrative models. He illuminates to the crowd what the vantage point hypothesis, and the butterfly impact are. Accordingly the subtext that runs under every one of the accounts doesn’t overpower us. The third story, Thappattam has Sundeep Kishen wearing the cop uniform while Priya Bhavani Shankar plays his better half. At this point, with the odd wind being the exemption, the composing begins turning out to be somewhat unsurprising. Sam CS’s marvelous score is one of the features during this phase of the film. It keeps you put resources into the procedures more than the plot. RD Rajasekhar’s utilization of a desaturated shading range merits acclaim, as it appropriately supplements the short film.
Among different exhibitions, Vijayalakshmi, and Sundeep Kishen stick out and sell their jobs well. The previous looks regular while Sundeep’s work is apparent and has interpreted well on screen. The film is actually amazing by and large, yet in the music division, Santhosh Narayanan’s score and voice suffocates you in feeling. The cinematography of Rajasekhar, Vijay Milton and SR Kathir intrigues the most. By and large, the film draws in you well and attempts to engage you however much as could be expected despite the fact that it’s anything but a 100% strike rate.
