KISS – Kiss aims for magic and emotion, but ends up lost in glossy visuals and a weak screenplay.
A Review by Gideon Jotham
Director: Sathish Krishnan
Duration / Runtime: 2Hr 24 minutes
Language: Tamil
Genre: Romantic Fantasy / Comedy
Positives
1: Fresh Concept
2: Lead Performance.
3: Supporting Characters
4: Music
Negatives
1: Storytelling Predictability
2: Screenplay
3: Direction
4: Cinematography
5: Stunts.
6: Fantasy Logic
7: Climax
Direction
It is the imprint of a director trying to make a point with his debut, Kiss by Satthish Krishnan. Even in the opening frame, one can see that he does not merely want to narrate a love story he wants to sell it as a youthful, stylish, and slightly magical experience. The ambition is demonstrated by the choice of the fantasy element of a kiss that tells the future. It is a daring effort to be unique among dozens of ordinary rom-coms that Tamil cinema has every year.
In the area Sathish is visual sensibility. He collaborates very closely with cinematographer Harish Kannan to produce bright, glossy and attractive frames that would be attractive to a young audience. The sections that include the dances, the romantic scenes, and even plain dialogues are used with the perspective of being colored. These are lively moments, the feeling of Sathish being interested that the audience remain as glued to the screen, despite the lapse in narrative.
Direction is not merely about the appearance of a movie it is also about its flow. And there cracks start to appear. Sathish at times finds it difficult to restrain his film. The transition between the light-hearted comedy to the strongly emotional conflict does not always seem natural. The scenes, which should have affected the heart, are sometimes in a hurry and the lighter scenes are extended longer than necessary. The rhythm is not even, which makes the film interesting in some ways and exhausting in other ways.
His style of telling stories is also another obvious thing. Sathish appears to be dilemna between being safe, and being an experimentalist. The fantasy concept is new, and the manner in which it will unfold is yet to be discovered. Rather than delve deeper into what the effect of Nelson visions can have on decision making and conflict resolution, the movie retreats into trite tropes of misinterpretations, last minute epiphanies and emotional drama. This way, the novelty of the idea would be watered down.
With that said, Sathish does manage to elicit performances out of his actors. Kavin is a star in his role as he is cute and emotionally vulnerable and Preethi Asrani is a graceful complement to him. Their chemistry is effective, and it is so due to the fact that the director allows them to breath on screen. Even minor actors such as VTV Ganesh have room to shine evidence that Sathish is aware of the need to balance the star power with the collective power of ensemble.
Being a first work, Kiss is a reflection of an artist in the discovery of his voice. Sathish Krishnan shows skill in the visuals, the appreciation of his cast, and the boldness to make an effort to do something different. He also shows the shortcomings of a first-time director who is afraid to go out of his comfort zone, who tends to rely on the same beats, and who loses control of narrative balance. In a way, Kiss can be seen as a movie that has the potential of the director but has not been fulfilled. Sathish can become a filmmaker with greater stinging narrative and more daring style that can make Tamil movies not only magical, but memorable.
Story
Kiss at its core is not simply a boy meets girl story but rather a story that tries to harmonise fantasy and the vagaries of love. The novel is about a simple young man Nelson who has a rare talent or curse, whenever he sees a kiss he gets glimpses of the future of the couple. It is this peculiar assumption that makes the film have its hook, making it immediately stand out of the mundane rom-coms.
The dramatic tone is added to it when Nelson falls in love with Sarah. Whenever he kisses her, he does not simply have a rosy picture like the other people do; he sees tragedy. Since that moment, the plot ceases to focus on young attraction and turns a bit deeper, to a question, is it possible to change fate, or is it predetermined? There is much dramatic potential associated with this idea, and the film exploits it in some aspects.
The story functions optimally in terms of setting and emotional investment. The battle that Nelson is going through is familiar he is not only fighting against love, he is fighting against time and fate. It is a blessing and a curse because the fantasy device presents a personal dilemma, which serves as the driving force. The relationship between Nelson and Sarah, the lighter scenes with family and friends makes it feel warmer, as it provides the story with certain basis into reality.
The story however fails in its execution as it moves along. The idea is new, yet the manner in which it is executed brings more of the classic elements of romance misunderstanding, dramatic conflicts, and the whole story climaxing in a manner that seems foreseeable. The story does not explore the ethical or pathos ramifications of the visions that Nelson sees. As an example, the movie might have visited the aspects of how this gift impacts his psychology, his relationships or even his faith in love. Rather, these questions are not addressed in detail.
The other disadvantage is that the story occasionally takes it too safe sometimes. The film does not challenge boundaries and venture into deeper or darker issues of fate versus choice but instead, it chooses a standard solution. This gives the conclusion some sort of satisfying closure that is not as powerful and memorable as the beginning suggested.
These in a nutshell make the tale of Kiss a combination of something new and something old. The main plot is creative and preconditions a strong romance, but the use of safe narrative decisions and lack of the chance makes it not turn to its full extent. What we are left with is a story that has its fair share of fun and pictures but one where the viewer would have wished that it had gone a bit deeper.
Screenplay
The strongest and weakest points of the film meet in the screenplay of Kiss. Sathish Krishnan is ambitious in concept, though not necessarily in execution, as he fails to find a way of turning that spark into a tightly wound story.
To the good, the screenplay starts well. When Nelson is introduced with his special gift of reading the future by kissing a woman, this has been treated with curiosity and humour. The depiction of his world, his relationships and his dilemma has been presented effectively through the early scenes and so the audience has sufficient factors to keep them wondering. The courtship scene with Sarah is not a serious affair, and the dialogues are humorous, and the montages are colourful and pleasant.
However, the screenplay begins to lose pace as the movie progresses. The medium parts lack the rhythm some of the scenes feel out of place that they are taking too long to accomplish, and others have a hasty emotional scene to cover. Fantasy, romance, and comedy are not balanced, which causes tonal variations that are not smooth but unpleasant.
The next problem is that significant plot twists are predictable. With a high concept fantasy premise on which the story is made, the screenplay does not exhaust the options. The visions of Nelson might have been exploited to provide tension, dilemmas and even unexpected turns, however, the movie constantly tends to rely on the time-tested romantic tropes. This renders sections of the story safe even in situations where the set-up was supposed to be fresh.
The dialogues are mixed bags as well. Here they shine with lightness or delicacy, there they are awkward, overloaded, indicating the feelings rather than letting them speak of themselves. More tender and vulnerable scenes should have been used by the screenplay instead of dramatic confrontations to bring out the emotional depth of the relationship between Nelson and Sarah.
Nonetheless, the screenplay is also able to hold together courtesy of the performances. Kavin and Preethi Asrani add flair to otherwise stiff areas, and the supporting characters add elements of humor, which aid in keeping the interest. At the cost of a foregone conclusion, the climax is at least performed with the emotional conviction and gives a glimpse of what the writing might have accomplished were the writer less cautious.
Basically, the screenplay of kiss is a half promise. It has a creative idea behind it and creates bursts of fun, yet it lacks the sustainability and complexity. It would have made a good idea an especially memorable romance with tighter writing, sharper conflicts, and bolder choices.
Cinematography
The cinematography of the film is a two sided sword by Harish Kannan in Kiss. On the one hand, the images are radiant, vivid, and glossy, precisely the type of image that elements of a young audience like. The scenes are color-coded with warm colors, smooth lighting, and flawless backgrounds that have rendered the film aesthetically pleasing. This works especially well with songs and montages, which make the film look like it were music videos and so would suit its rom-com feel.
Nevertheless, the cinematography is many times empty-handed when approached closer. Most of the frames, though beautiful, do not always work to the emotional heart of the story. As an illustration, a scene of lovemaking or fighting between Nelson and Sarah is revealed with the same glossy finish that the lighter romance scenes, and watering down the seriousness of the feelings. The absence of any tonal difference in the images denotes that the audience is not always able to sense the change in the characters experiences in their journey.
Another dimension of the lighting that is uneven is lighting. Outdoor scenes are lit brightly, whereas indoor scenes and those with a high level of emotion tend to be flat or too bright and deprive them of three-dimensional effects and atmosphere. A narrative about fate, tragedy, and emotional conflicts would have been better framed with more subtle shades of shadows, opposition, or close-up shots that would make us experience the inner world of the characters. Rather, the movie resorts to pristine, stereotypical, commercialistic images, which focus on the superficiality of beauty, rather than the depth in storytelling.
The movement of the camera is also not steady. Certain passages particularly in songs are fluent and accompanied by sweeping shots and inventive angles. However, when it comes to a dramatic situation, the camera work is stagnant and dull, like it is merely recording the actors and not adding any tension or emotional charge to them.
In simple terms, it is the cinematography of the film, Kiss that manages to capture the colourful world and fails to capture the cinematic world. The images are visually nice, although not necessarily meaningful. Each cinematography could be more imaginative considering the film was constructed based on a high-concept fantasy notion because the lens could be used to differentiate reality, fantasy, and emotional conflict. The opportunity is still unexploited.
Editing
Editing in Kiss feels like one of the weaker technical links. While the film carries an inherently light and youthful premise, the pacing doesn’t always reflect that. Several scenes especially emotional confrontations and dialogues meant to carry weight are allowed to run far longer than necessary. Instead of heightening tension or deepening emotion, the extra seconds make them feel repetitive.
On the flip side, when the film shifts between moods from playful romance to fantasy elements or from light comedy to tragedy the cuts often feel rushed or abrupt. These tonal jumps deserved smoother transitions that could have guided the audience seamlessly through the shifts. Instead, the editing sometimes pulls us out of the mood rather than drawing us deeper in.
Song placements, too, could have been tighter. A couple of numbers arrive suddenly, halting the narrative flow instead of blending organically into it. For a story that already struggles with consistency in tone, editing was the one tool that could have bridged the gaps. Unfortunately, it plays safe, resulting in a film that looks neatly packaged but doesn’t always carry the sharp rhythm it needed.
Music
The music of Kiss by Dhina is constructed in a juvenile way. The music is simple to the ears, fast-paced, and presented in such a manner that highlights the beauty of the lead couple. Songs such as the romantic duet songs embody the childish play between Kavin and Preethi and aesthetically, they are presented appealingly. This renders the songs enjoyable on their own accord.
However, the songs do not necessarily have weight when they are compared to the storytelling requirements of the film. Certain ones are forced into the screenplay, and look more like musical interludes than extensions of the story. This detachment implies that although viewers may hum the melodies when they are not at the movie theatre, when they are in the movie they may stop the narrative as opposed to moving the story.
With that said, the writing date of the compositions does give it a commercial gloss. The songs are useful to viewers who are there to have a light rom-com experience. However, the soundtrack can be considered more of an ornament than an essential part of the story to those who seek music that blends well with the highs and lows of the story.
Background Score (BGM)
The background music is the most effective when the movie remains in the light-hearted realm. Harmless extensions and humoric moments are supported by the vibrant and light-hearted sounds that correspond to the careless character of the movie. These scenes are simply smooth, courtesy of the music.
The difficulty lies in the fact that the story requires emotional substance or fantasy inspired intensity. The BGM in such sequences tends to revert to known and generic formations. The score has the tendency to be predictably understated, as opposed to establishing an ambiance that would add excitement to the drama or improve the magic. This leads to serviceable but unmemorable scenes.
A movie such as Kiss where the setting traverses contrasting moods romance, fantasy, and tragedy could not have been accomplished without a background score, which can be described as a bridge, which made these tones come together creating a unified experience. Sadly enough, the BGM does not go that far. It does not interfere with the scenes and bring them to a superior level, but it seldom elevates them to a superior level. The emotional weight is not developed as the musical motifs are not memorable or rich in theme.
Performances
Kavin as Nelson:
Kavin puts Kiss on his shoulders almost completely. Nelson, a charismatic man, possesses the ease of nature to render the romantic passages to be believable. His boy-next-door attractiveness does not fail in lighter scenes and his comic timing is spontaneous. But in case the part requires more serious emotions, particularly in the tragic parts, his acting at times seems superficial. As he gets the intent, the intensity is not always received with the depth the scenes ought to. Nevertheless, the screen appearance and energy of Kavin make the film interesting even in case of writing failure.
Preethi as Sarah:
Preethi gives the performance that is likeable but unsynchronized. She dazzles in the love scenes, with elegant innocence she makes Sarah that she combines well with the playful Kavin. The fact that she is chemistry with him is also one of the highlights of the film, adding flair to their relationship on screen. However, in the dramatic confrontations, her expressions occasionally have a narrow scope and the emotionality is not completely achieved. Preethi has potential, yet the character was underserved with a more detailed development of her character.
Supporting Cast:
Friends and comedy sidekicks add comedy, which however is usually cliched. They make the story light and at one time interrupt the story.
The roles of family members and older characters are satisfactory and form the basis of some of the melodramatic stretches. But none of these acts are very memorable ones they are rather present to get the story through than to make an impression.
Stunts
The stunt work in Kiss is rather a supplement than a natural aspect of the story. The action scenes are performed in a commercial manner, using exaggerated movements and dramatic build-ups that are used to bring cheers in cinema halls. Although they deliver spurts of energy, they are not always needed by a movie that in other aspects occupies the territory of romance and fantasy.
Stylistically, the stunts are glossy including slow-motion shots, stylised punches, and uncouth reactions, which may appeal to mass-audience sections. They have no ground outside the spectacle, however. These emotional undertones associated with these scenes are not believable, and thus the fights lack weight. They frequently do little more than add tension or further the storyline, and instead of benefiting the film, they usually serve as distractions prolonging the film.
The performance is also unnatural. There are some sequences that are properly choreographed with clean framing and some are so clumsy and the editing seems to be jerky, losing its effect. It does not seem to be safety- or realism-at-all-costs; the stunts are much more dramatised.
In general, however, the stunt work in Kiss contributes to a certain degree of commercialism, but does not flow well with the story. The action in a movie touching upon love, fate, and fantasy is as tangible as a checklist point rather than a part of the narrative.
Conclusion
Kiss is a movie that attempts to wear so many hats simultaneously a romance movie about youth, a fantasy experiment and a heartfelt drama. Surface wise, it has ample to recommend it: the light-hearted lovability of Kavin, the bracing effect of Preethi, visual color and some catchy background music which appeal to the youthful audience. One can find that there are times when the movie is sincerely amusing light-duty banter, tender romantic asides, and good-natured laugher.
However, where the film tries to go deeper into the tragedy and fantasy its failure is more evident. The direction fails to strike a balance between tones, the screenplay is torn between excessive drag and too rapid swings, the technical departments of the movie in cinematography, editing and background score seldom go farther than the superficial gloss. The stunts, despite being flashy, are also too out of place in a narrative that needed to be more emotionally and fantastically driven.
In its core, Kiss could have been a distinctive mixture of the romance of youth and the fantasy of narration. Rather, it rests on its laurel as a safe and shiny entertainer that does not explore its potential to the fullest. It is done in parts and phases, but all in all, you are left with the feeling of what might have been.
Final Rating: 2.5 / 5
A Review by Gideon Jotham
