Director Chimbudeven tells us right at the start of Kasada Thapara, in a voiceover, what the movie is about: a demonstration of two theories: the butterfly effect and the vantage point theory. The film is made up of six interconnected storylines, each with its own central subject. Some main characters in one tale seem as outliers in another, despite the fact that their actions have an impact on the lives of others with whom they have little interaction.
A misplaced file not only sparks a relationship between the lady (Regina Cassandra) who left it at the office where she had gone for an interview and the guy (Premgi Amaren) who returns it to her, but it also serves as evidence that might save a life. A well-intentioned deed by a young guy (Prithvi Pandiarajan) towards a distraught woman (Vijayalakshmi) results in the deaths of many people as well as the execution of an innocent man (Venkat Prabhu).
A gangster’s decision to turn over a new leaf ends up ruining the marriage of a cop (Sundeep Kishan), who, in turn, learns the truth about his sister (Vidya Pradeep) when a misdirected mobile phone is returned to him by an optimistic young man (Harish Kalyan), who already has a change of heart when he recognises that his act of sharing a cool drink may have put the lives of several people in danger.
Kasada Thapara holds our attention owing to the interconnection of its various narratives, as we are continuously startled by how one character’s or their actions in one storey affect the lives of those in another. For each of these stories, Chimbudeven has enlisted the services of a different cameraman, editor, and composer, and this technique distinguishes each part. Some of these include technical work that is superior to what we see in the rest and even elevates that category.
Take, for example, the final episode of Akkara (Care). Vijay Milton and Santhosh Narayanan, the cinematographer-composer duo, intensify the emotions in the compelling narrative and let us experience the protagonist’s misery (Venkat Prabhu, who is quite good in a role that had the potential to become melodramatic). However, in some cases, such as Panthayam, this is a disadvantage (Betting).
For a couple of the films, the filmmaker utilises a different aspect ratio, which appears to be done just to make the storey visually stand out.
Individual narrative tones don’t often mesh effectively, resulting in uneven storytelling, as opposed to a similarly organised linked film like Super Deluxe, in which every individual storey came together wonderfully in fascinating manner. But, to his credit, the filmmaker manages to make us care about a couple of the characters to the point that we remain involved in the events, even when they appear to be generic.