<p>Haggada Kone<br />Kannada (U/A) ¬¬¬¬<br />Director: Dayal Padmanabhan<br />Cast: Naveen Krishna, Suchendra Prasad, Manohar, Dattatereya, Sihikahi, Geetha, Sarigama Viji, Raju Mysore<br /><br /></p>.<p>Every once a while comes a cinema to reaffirm that meaningful films, and those that believe in them, exist. One such is Haggada Kone, a delectable art house cinema that discerning audiences endlessly wait for. We must salute Dayal Padmanabhan, who has eschewed all commercial calling, to helm a film which he, and those that grace it, would be truly proud of. <br /><br />Taking inspiration from the late Kannada playwright Parvathavani’s eponymous play, Padmanabhan’s film is also an ode to Karnataka’s prominent theatre activist, while, holding a mirror to the contentious issue of capital punishment and its efficaciousness in ridding society of crimes.<br /><br />Spotlighting on the subject through ruminations of Channakeshava, a thief-turned-murderer who is soon to be hanged, the film makes a scathing indictment of the long-held practice. It also touches upon the failure of society to understand the psyche of the felon, as also its failings in adopting an empathetic approach could prevent crimes. <br /><br />The film’s only fault is it does not move away from prison walls, where the entire drama is played out, teasing audiences’ attention. <br /><br />Despite poor cinematic qualities, Haggada Kone deserves appreciation as also Padmanabhan for his bold experiment, and is a must-see for those who believe in meaningful movies with aesthetic appeal.<br /><br /></p>
<p>Haggada Kone<br />Kannada (U/A) ¬¬¬¬<br />Director: Dayal Padmanabhan<br />Cast: Naveen Krishna, Suchendra Prasad, Manohar, Dattatereya, Sihikahi, Geetha, Sarigama Viji, Raju Mysore<br /><br /></p>.<p>Every once a while comes a cinema to reaffirm that meaningful films, and those that believe in them, exist. One such is Haggada Kone, a delectable art house cinema that discerning audiences endlessly wait for. We must salute Dayal Padmanabhan, who has eschewed all commercial calling, to helm a film which he, and those that grace it, would be truly proud of. <br /><br />Taking inspiration from the late Kannada playwright Parvathavani’s eponymous play, Padmanabhan’s film is also an ode to Karnataka’s prominent theatre activist, while, holding a mirror to the contentious issue of capital punishment and its efficaciousness in ridding society of crimes.<br /><br />Spotlighting on the subject through ruminations of Channakeshava, a thief-turned-murderer who is soon to be hanged, the film makes a scathing indictment of the long-held practice. It also touches upon the failure of society to understand the psyche of the felon, as also its failings in adopting an empathetic approach could prevent crimes. <br /><br />The film’s only fault is it does not move away from prison walls, where the entire drama is played out, teasing audiences’ attention. <br /><br />Despite poor cinematic qualities, Haggada Kone deserves appreciation as also Padmanabhan for his bold experiment, and is a must-see for those who believe in meaningful movies with aesthetic appeal.<br /><br /></p>
