Manasaare

All that matters is perception - how people perceive an individual and vice-versa: only, the parameters of success or failure keep changing. A developing relationship brings in other facets of the complex human mind. Yogaraj Bhat’s ‘Manasaare’ presents a refreshing change - rain, that eternal companion of the romantics, is absent here, though peeping in from Kaikini’s lines... 

For ‘Manasaare’, the challenge is to dress up an abstract concept in the garb of common (or average) intelligence. The hero is initially dismissive of a society that treats him with cold contempt for his relative failure in life. A life-changing experience does not prepare him to face his fellowmen’s true nature under trying circumstances.

On the brink of despair, he finds unexpected strength. There are several ‘inspirations behind the story idea, no doubt. With ‘suitable’ changes, the director tries to tell a complex tale in a simple manner.

Helping him in the journey are cinematographer Satya Hegde, the art department, screenplay writer Pavankumar, composer Mano Murthy and the dialogues written by the director himself. But a sense of deja vu strikes whenever Manohar (Digant) utters platitudes or when he fantasises dancing with Devika (Aindrita) - people tend to compare Digant with Ganesh. But has the former just aped the Golden Star?

Na... In ‘Manasaare’, Digant (like Aishwarya Rai) shows he can act. Aindrita with less dialogue, and easy on the eye, manages to emote well with her eyes and smiles. But when a film is made ‘manasaare’, it runs the risk of turning into a self-indulgent exercise.
The director takes care that this doesn’t happen but cannot pump up the film’s pace, held down by a couple of songs and scenes. The film has a sudden end and does not touch the viewer. Then again, ‘Manasaare’ may not be everybody’s cup of tea.