When the gentle snores of a movie-watcher right behind you reach your ears, you're pretty much aware of the effect this Tamil movie, Kanna has on the audience.

Kosmic Film Entertainment Pvt Ltd's Kanna, directed by Anand, is a movie that tries very hard to be subtle and sensuous, exhibiting the Art of Love but instead falls flat on its face.

It's a case of too many bad cooks spoiling the broth. Why, for example, does Eric alias Kanna (debutant Raja) have two names, anyway? Although you must admit that the idea of his being a florist is a breath of fresh air, and gives him an excuse to always be traipsing around Ooty with a marvelous bunch of flowers. However, his long speeches on the nature of love are a bore.

And then there's sweetly sixteen Annapoorani aka Poorani (Sheela who's got really pretty eyes and features, you admit � but she hams away like yesteryear actresses in scenes that require half the intensity), who arrives in Ooty on a school tour. 

The incident at Doddabedda is an unwitting laugh riot, as she stares at the old registers and declares that she's been here before. For a moment you sit up, eager to know if there's going to be a reincarnation twist here -- but then it all sinks into mushy nonsense.

The reason for her animosity towards Raja is baffling. Why does she give such long pauses before speaking? It reminds you of Tamil TV serials. Even her school uniform seems a throwback to the classic Panneer Pushpangal.

Master Ashirvaadham (Livingstone, in a completely silly role that's an insult to the section he's been caricatured as), and Teacher Vennila (Shona Nair, who's thankfully true to the part), are the props who form the backdrop of the school in Coimbatore, to the Kanna-Poorani relationship.

They have little to do except wear sweaters and chase each other, be spooked about non-existent ghosts or participate in so-called romantic interlude a la the 90's school movies. These moments, which are supposed to supply the humour quotient, leave you yawning. 

Post interval, the movie picks up pace, as Poorani, eager to meet her beloved, ups and leaves the school on her friend's bike to Ooty. Unaware of Kanna's address, she ambles aimlessly, learning about his past from various people. As the hours passes she realizes that she's hopelessly lost. You'd think a sixteen-year-old might have sense enough to ring up her parents, but no, she leaves that until past midnight, which, of course, supplies the twist in the screenplay. Aargh.

If anyone, it's Prakashraj, playing Poorani's father Prabhu, who saves the day. His anguish-filled eyes as he drives around the city, searching for his daughter and when he finally goes to the Police Station, are the ones that pull you into the film.

Seetha, as Jaya, Poorani's mother, leaves you with the yearning that she'd been given more screen space.

And then there's the little guy O Henry at Ooty, who is a spot of brightness.

Kaadhal, the Balaji Sakthivel trendsetter, has clearly been the inspiration for many scenes: the early morning traffic, for one, and the setting as Poorani walks down lonely roads at night. And the scenes of her distraught family waiting. If only they'd internalised its subtlety and taut storyline.

Ranjith Barot's music speaks well in the songs Kuyil Pattu Paada �, while the background scores are sweet on the ears, even though it's obvious he's tried too hard. The songs don't really stay with you although they don't assault your ears either.

You're tempted to tell Raja that he'd better choose a better script next time. Kanna aims to be subtle, sweet and deliver a message into the bargain -- but ends up reaching only the halfway point for each.

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