How to get lost sometimes is useful For two hours of watching this very bright and life-affirming film, I tried to understand the author’s intention – what exactly the director, aka screenwriter Anil Radakrishnan, wants to convey to us. And, I must say, none of my versions, which succeeded each other in the course of unfolding this story before me, did not live to the end, and the understanding that appeared in the finale canceled all the previous ones as absolutely erroneous. The question is: what about the main character - he has a mental illness, a mental disorder or a mental disorder? Initially, we form, or rather, try to form, the impression of the main character as a complete psychopath: he wakes up the whole family in the morning with a terrible therapeutic and preventive laugh and tears down the seat of the home toilet with detergent before entrusting his ass to him. But if Hari Krishnan is sick, then one trip to the north for 24 kadams will not fix the matter. And if he is sick, then why are people behaving with him so intolerantly, without making any discounts on the diagnosis, whatever it is? I looked and found no reason for Hari Krishnan’s mentally normal relatives and colleagues to treat him so callously as a teenager. The danger he was not the slightest, there was no harm from him (if not to get it, of course), but the benefit for the company was more than the rest of the staff combined. In general, I did not understand why the main character is shown as a psycho, and this is a bunch of giggling slackers - suffering from him by the normal majority. What is the idea if, of everything you see on the screen, sympathy is unwittingly on the side of someone who is clearly presented from the negative side?
Then it seemed to me that the author wanted to convey something else - how difficult it is to live in the notoriously littered India with a disorder like Hari. Cinema acquired a noticeable social character - problems raised and reflected a considerable number, from strikes to interethnic marriages. But this was only the background, just the background surrounding the main characters during their journey.
Hari Krishnan’s diagnosis came gradually, and for me it finally took shape in one word: misanthropy. Dislike of people and human community at an extreme stage, when even the breathing of others and their conversations are hated, when people are reduced to the microbes they leave behind. And it must be said that people around Hari have been shown that his attitude is quite justified. But life gave him a meeting with completely different people, and his stable system of worldview gave a crack, and then completely lost relevance, because when love wakes up in the soul, you look at the world with completely different eyes, and the fingers of your beloved girl are no longer a breeding ground of microbes, this is an exciting pleasure. Germs and dirt are still there, and people aren’t getting better, but Hari Krishnan has the inner strength to see beyond that. For, as has been wisely said before us,
You are not happy when everything is good, but everything is good when you are happy.
I think the film was all about it, and it’s a very good film, leaving no slightest painful feeling, only light and positivity in the soul. In my opinion, this is the merit of
Fahad Fazil, incredibly capable of being attractive even in the image of a man-hater fixated on purity and order,
very light and light music, which sets the atmosphere of this film-road,
The characters of the old man and the girl who changed the life of the main character,
And all those who follow him along the way.
Thanks to the writer, who is also the director, Anil Radakrishnan.
Great movie.