#Drama kannada movie video songs windows#

While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. It begins and ends with events around an electric grid, and tells us that power equations seldom change. Pedro is a very impressive debut, and its most impressive feature is that it shows how much can be conveyed purely through visuals, purely through cinema. And by Gopal Hegde, the director's father, who plays Pedro with the awkwardness of someone who does not really belong РІР‚вЂњ not to his family, not to his peers, not to his village, not even to himself. But an equal amount of information is conveyed to us by the sounds of nature. You only need me when there's work to be done. There are some stinging dialogues: You are all selfish creatures. It was an animal that turns everyone against Pedro, and a stunningly mounted scene in a river shows a vigilante (Raj B Shetty) keeping Pedro away from a statue of Ganesha being immersed during a festival. Apparently, that boar we thought Pedro shot wasn't really a boar. But even these moving shots seem like static shots, perhaps a sign that nothing will ever change in Pedro's life, that the actions of him and his kind will always be controlled by more powerful people.

#Drama kannada movie video songs windows#

So many stretches stand out: the murky conversation between two men shot through the foggy windows of a car, the centre-framing of Pedro in a moving car or on a bike. This is one of the most exquisite pan shots I have seen in all of cinema, so filled with a sense of doom that we suddenly seem to have walked into a suspense drama. But it would have been a very different movie, and we would not have been led so gently to one of the last few scenes. Could the same story have been told with half the number of shots? Sure. The way Pedro bathes this little boy tells us a lot about his love for him РІР‚вЂњ so thorough is the bathing, so thorough is the filming. There is an impotent brother, a stolen ring, there's revenge, adultery, a woman with a little boy who lives with Pedro. At its core, Pedro could have been a faster-moving family psychodrama. Maybe he is dying? Maybe he is just wounded? This is a movie of maybe-s, which is why I said it is ripe for all kinds of readings.Р”Р„nd it is this perfectly calibrated distance that makes this film so brilliant. Maybe it's a boar? When the assaulted barber falls, the camera refuses to move to him. When an animal is shot dead, we see its hoofs. But what matters is how Natesh and his cinematographer make us navigate their story. There's certainly (and inevitably) some of that here. Natesh does not seem to be interested in making easy points about rich-versus-poor, or dominant-versus-oppressed castes. This man РІР‚вЂњ a very rich man РІР‚вЂњ has hired Pedro to guard his land from wild boars and assorted creatures of the wild. So you could also say that Pedro is about what it takes for a mouse to become a tiger: 'a menace not just to us but to the entire village,' as his employer says. You can read something into the rain, too, which becomes its own character in key scenes: like the one where Pedro assaults a barber. When we set eyes on this daily-wager, he is a mouse, calmly doing what his superior wants him to do: perched on an electric grid and carrying out some repair work. Pedro is that kind of movie.Р”В«ut Pedro isn't one of these toxic men РІР‚вЂњ not at first, at least. How wonderfully strange that the 'natural' state of these toxic men gets showcased amidst these most artificial of colours. This is about the sharp neon colours in a local bar, where the men are at their most natural state. This isn't the kind of picture where you will see a sunrise and some mountaintops and do a sharp breath-intake. But through Vikas Urs' brilliantly unshowy cinematography, the lushness is de-lushed. Pedro is shot in a lush village in the Western Ghats, and to the naked eye, the scenery must be lovely. But this is my favourite thing that the film is about: colour. Natesh Hegde's Pedro is many things, as many things as you can read into its deliberately paced frames. Gopal Hegde, the director's father, plays Pedro with the awkwardness of someone who does not really belong РІР‚вЂњ not to his family, not to his peers, not to his village, not even to himself.