During a breakdown, the devastated joe discovers a journal and realizes that a woman he has no way met may just change his life. The first scene of the film is sacred. It’s especially satisfying to realize that the filmmaker is trying to emphasize the film’s themes seconds after the first frame appears. It occurs in 18 Pages, when we first encounter Siddhu (a confident Nikhil Siddhartha) in his dim bedroom, with his phone’s screen lighting up his face. The gemstone score in the background may herald the appearance of an “idol,” but then is a man whose entire life, like numerous of us, appears to be illuminated only by his phone.
We next watch his conditioning, which ranges from using the bathroom to wandering along the road, albeit dangerously, with his phone as a constant companion. He’s nearly in regular contact with his gal. Indeed if they plainly state it in the first many twinkles, the setup for his character and the difference we will soon substantiate once the conflict is introduced is adroitly done. Siddhu is forced into darkness when his nut breaks his heart, as is to be anticipated, and this time, he needs genuine light — not the light from his phone — to lift him out of the sadness. This occurs when he finds a fine, two-time-old journal that introduces him to Nandhini (a fabulous Anupama Parameswaran).
A story about love and numerous further significant and deeper issues follows as her reflections from the once launch affect his present. 18 Pages can come off as a little predictable in terms of ideas. One of the movie’s main themes is sticking with tradition. It does have moments where it makes you suppose those 1990s pictures where the protagonists fall in love via writing letters to one another or pictures where the couple is not revealed to be one another until the very end.
Do you have a conception?
18 Pages is a timely movie that raises a timely, contemporary problem in our lives: a lack of interpersonal commerce, indeed though its ideas may be old-fashioned. Without ever being moralistic, the movie centers its whole plot on this idea.
Sukumar’s script employs multitudinous rudiments to convey its point, from Siddhu’s profession which involves virtual commerce — to a minor but fantastic character, that of a youthful boy dealing pens at a business signal, and this opens the way for some beautiful scenes brimming with love and kindness. Nandhini, the polar opposite of Siddhu, believes in passing life rather than simply surviving it. She doesn’t enjoy the telephone. Her preface is nicely done, and indeed though it’s done vocally( it is a circumlocutory film, and voice-overs play a significant part, given that journaling is a prominent content), it catches everything about her, the way she observes life, and how she processes effects. In a sense, it’s Nandhini’s movie — when she smiles into the camera, the frame freezes, and the title also appears.
The movie is full of these tender, touching scenes that come from the script’s sweats to emphasize how important it’s to form mortal connections. One of the stylish aspects of the movie is the machine captain, who serves as both a story point and a vehicle for the script’s philanthropic quality. One of the strongest aspects of Sukumar’s script is his brief hassle with Nandhini and how this dynamic is latterly employed to advance the plot. Surya Pratap Palnati’s essay includes a lot of factors, in the shape of characters and plots, on the strength of Sukumar’s jotting, but he in no way tries to take on further than he can bite and completes all the bends.
The movie’s topmost quality may be its royal capability to vend both joy and sadness. It’s a touching play that makes you suppose about your connections. Siddhu’s non-relationship with Nandhini also inspires many entertaining jokes. And when it’s suspense, you come authentically interested in it and want to learn further. And the editing by Navin Nooli must be mentioned. They first successfully compare the lives of these two different people before traditionally starting to make comparisons. One of those pictures where liar and editing are intertwined and enhance one another is 18 Pages. So, finally 18 Pages is the perfect film to watch this weekend.