White Rose Film Review – First Thoughts
I was only ten minutes into watching White Rose when I began to wonder how much misfortune could one person experience in a lifetime? Divya (Kayal Anandhi), the girl who got married outside her religion and was disowned by her parents, then loses her husband in an accident. Then, the four years old daughter is kidnapped by the moneylender. This is just a premise and these conflicts may look overwhelming from this angle. The movie opens with eerie sounds that create tension as well as unanticipated appearance of ghosts before becoming dull due to excessive misery and multiple nonsense.
Divya decides to become a sex worker in order to get money for her child from that man, she even babysits him for some time without his knowledge. She has killed a person on the first try of it too bad. After that everything follows after.
However long it takes to build this world up once its conflict starts, until halfway through you watch that film with fervor despite one or two hitches in the script. For instance, there are several gaps left here and there for you to fill out which make it unclear whether this is happening at present or past times, nonetheless, these unanswered questions contribute immensely towards making such thrilling moments exist.
The prime theme in White Rose is generally silent crime presented as mental illness often not punishable under law since awareness about sexual nature disorder limited but dwells effectively upon what happens before and after which detracts from the goal of the film.
In this movie, RK Suresh is the bad guy despite having no dialogue.
His character, on mental disorder that is a serial killer grappling with, presents an exploration of criminal behavior that is promising. However, this potential isn’t used in the film. The audience feels neither fear nor understanding towards him since there is almost no backstory. In fact, more time could have been spent by the creators developing his character instead of using it as a portion in which Divya finally escapes and survives. White Rose keeps up its thrilling pace for most of its duration. The last half-hour however repeats itself beyond what’s actually necessary for a story.
The film offers a monotonous ending when reflecting on just how many times Divya has tried to escape from her captor; especially after she continuously makes irrational choices even when danger becomes more imminent. Sometimes she seems to be without simple instincts enabling one to live except getting attacked at once by her attacker while tools are readily available for self defense. For example, in one scene she is beaten by the villain but does not bother about grabbing a lamp or center piece on a table next to her which might have helped her win over him easily whole situation. This banality somehow destroys fear built throughout the entire movie.
Anandhi’s acting was powerful enough to make us believe that we were seeing real people experiencing difficult moments as parents and young girls who are scared out of their wits. She saves an otherwise repetitive and dull film whose opening scenes make you want more.
The end follows an overly complicated route although it can be predicted (remember Manik Baashha’s line “Aandavan Nallavangala Sodhipaan aana Kai vida maatan”). When credits rolled I kept wondering why all these actions were tied within White Rose? It did not seem like I was any closer to finding out why such events had unfolded or become part of my life as well as the lives of others involved in this movie.
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