Manikandan, who also wrote and shot the film, follows the footsteps of Vittorio De Sica by casting kids who actually grew up in slums. Dressed in dirty clothes and sporting the reddish brown hair that comes from being out in the sun and undernourished, senior and junior are authentically sprung from the loins of urban poverty. The kids are cute, but without trying to be. They have a dog who thankfully remains mute throughout the film. So much so that they’ve decided to call themselves Big Crow’s Egg and Little Crow’s Egg.
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They are also fond of stealing and devouring crow’s eggs. 15 a day picking leftover coal from train tracks. This is a bit of a task because right now they make Rs. It’s the kind of film you can literally take home to meet your mother. Manikandan pulls of an amazing feat by managing to be accessible without being predictable or dumb. You will not be asked to make sense of seemingly random visuals of dinosaurs strung together by a genius. It’s a profound film on the effects of globalisation on those living in poverty.
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Kaaka Muttai which released along with Zoya Akhtar’s aqua-mammoth is on the other hand, the real thing. You know, a bit like that guy on Tinder who has a quote from Rumi in his description but only because he saw Imtiaz Ali’s Rockstar once. My thumb rule is that if a film uses a VO to explain the inner workings of a character, it means that it’s trying too hard to be deep or at the very least, interesting. I detest how a disembodied voice is used to underline the moral of the story in scenes. So as you’ve probably guessed by now, I wasn’t very keen on the recently released Dil Dhadakne Do, which suffers from voiceoveritis and a case of the ‘profounds’ the way I assume most of the Indian population now suffers from post-Maggi-lead-poisoning. With very few exceptions (ahem…The Usual Suspects), I hate explanatory voice-overs (VO) in films.