KADAMBAN SYNOPSIS: Tribals leading a happy life inside a forest face a series of horrific attacks by those with selfish interests.
KADAMBAN REVIEW: A group of naïve tribal people who are living happily inside a forest (though they have their share of trivial disputes) are unaware of the clever tactics of business-minded people. They are ready to fight till their last breath against these forces who are eyeing their homeland for selfish needs. Most of them pin their hopes on Kadamban (Arya), probably the only man among them who is aggressive, charming and adventurous, and is also blessed with a great physique. He is mostly seen accompanied by his friend (Aadukulam Murugadoss).
Rathi (Catherine Tresa), who is in love with Kadamban, often persuades him to love her back, though the latter initially shows no signs of ‘settling down’. Like Kadamban, Rathi, too, is bold enough and good-looking, though a little unconvincing at times, considering the character and the backdrop against which the plot unfolds. Rathi’s brother is against their relationship and doesn’t mind getting into heated scuffle with Kadamban for the same.
Kadamban, who gets arrested by a local cop only to settle old scores with him, is released by activists (YG Mahendra and Madhuvanti) who work for human rights. They help the inhabitants of the forest in various ways to raise their standard of life, and win their hearts. Meanwhile, a business man (Deepraj Rana), who is keen to build his empire, sets his eye on the resources from the forest and hatches plans with the help of a cop and a few loyalists.
As an adventure thriller set in a dense forest, Kadamban offers a few breath-taking shots — the cinematography by Sathish Kumar is a treat to watch. The action sequences, choreographed by Dhilip Subbarayan, are good, especially in the climax, where the tribals fight with weapons naturally available in their forest, and the scene where Arya saves a cop from drowning in a marsh. However, scenes like the hero escaping unhurt despite many a people firing continuously from high-end guns appear clichéd and unreal. The scenes involving CG are good in some scenes, but look cheap in few other sequences.
Arya, with his chiselled-body, has given his best for the film, though his characterisation should have been more interesting. The absence of a challenging baddie and strong supporting characters, too, mars the flow overall. One can’t be blamed if the film reminds him of the sequences from many other movies. However, despite the flaws, the film has its moments and Ragava’s attempt and Arya’s efforts need to be lauded.