Kanthaswamy
2009

Kanthaswamy

CBI officer Krishna (Vikram) moonlights as a modern-day Robin Hood in the guise of the masked Kanthaswamy, as he helps fight corruption and aid impoverished people.

Locations in Europe: Italy, Switzerland
Storyline
  • Star(s): Vikram, Shriya Saran, Prabhu, Ashish Vidyarthi
    Songs/Dance/Action Sequences: Located in Italy.
    Indian/ International Crew: Indian and international.
    Language: Tamil
    Director/Producer Director: Susi Ganesan Producer: Kalaippuli S. Thanu


    Film Location Analysis

    By Veena Hariharan

    The “Allegro” song was shot at the Ventidio Basso – Ascoli Piceno, Italy:

    https://www.youtube.com/watch?v=ZGblw7Esyfg

    [The Theatre Ventidio Basso of Ascoli Piceno is in Via del Trivio, overlooking the cloister of San Francesco, close to Piazza del Popolo. It was named after Ventidius Basso, Ascoli, who lived in the first century BC, and was able to climb the ranks of the Roman military hierarchy. The theatre houses 15 ft. of rope, and consists of an oval room with four tiers, each divided into 23 boxes, with a total capacity of 842 spectators.]

    The song’s opening frame mimics the multiple windows on a desktop, only that at the time it released (2009), it was mostly seen in theatrical releases on large screen projections. One of the open windows frames a woman in an elegant long dress; she is shot from her back to us accompanied by an operatic score. As she begins to walk closer to the onscreen audience, we realise that this spectacle is being watched by Krishna on his laptop as he sits in a garden lawn. Slowly, the camera zooms in to the performer as the other windows disappear from view. The performer now turns to us, the spectators, and in the logic of the 180-degree rule, to Krishna, who is watching her on his laptop. The scene is framed in a medium long shot to reveal the expanse of the splendid theatre, which seems to be in full attendance and enveloped in the warm tones of golden ambient light.  A close-up now reveals this performer, who is dressed like a veiled Japanese doll, to be the film’s heroine Shriya Saran (essaying the role of Subbakashmi), crooning and waving her hand fan across her face. Krishna peers into the computer, his interest piqued. The tempo of the soundtrack changes suddenly, and Subbakashmi is joined by a group of energetic dancers who take over the stage along with her. She is now dressed in an entirely different costume–tights and bikini–as she dances to the energetic track. From here, the dance, dancers, and costumes change several times before the conclusion of the song. The sequence is intercut with the audience present in the theatre applauding her, including some close-ups of children; the audience is seen actively participating and lapping up every move of hers. Both the audience and Subbakashmi get increasingly animated as the song progresses. The camera zooms out every now and then to take in more of the theatrical space–the golden ornamental side panels, the majestic ceiling dome with elaborate chandeliers, and packed galleries–as floodlights light up the dancers on stage. 

    Additional Information & Links

    Promos:

    https://www.youtube.com/watch?v=ppDsnN7_0vw

    https://www.youtube.com/watch?v=ahUE5qX38D4

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