Gautham Menon’s last film ‘Vinnaithandi Varuvaya’ rocked the same February season last year and it changed the lives of all the people associated with the film except him. The genre shift is not exactly what we were looking forward. In fact it is amusing to see three renowned directors have dished out three thrillers in the last three months. Easan, Yudham Sei and ‘Nadunisi Naaygal’.
‘Nadunisi Naaygal’ is the story of a boy who turns a psychopath with multiple identity disorder. Gautham has stuck to the theories of this disorder perfectly. But a placid narration is bound to test your patience.
Samar is a child abused by his trusted parent and grows under his neighbourhood Samaritan Meenakshi aunty with a new name Veera. But Veera is haunted by the traumatic events of childhood day and night. He splits off the awareness and memory of the traumatic events to survive in the relationship of Meenakshi. His compulsive disorder makes him possessive of Meenakshi and when she marries, Veera kills her husband. In the mêlée Meenakshi is also burned.
But Veera develops a personality thinking Meenakshi is controlling his multiple identities. His different personalities perform different functions that are destructive. Veera turns a psychopath who is after young girls and associates compulsive love and the violence. When he plays the game with his school friend Sukanya the game ends. Oh yes! I am able to narrate the story. If you still have problems wait for the end credits to roll and there is another proper narration.
‘Nadunisi Naaygal’ was flaunted as a psychological thriller after three decades and strictly warned the weak hearted to stay away. But not really so. The two hours long film fails to grip you. With no logical coherence in development you will fail to sympathise with the protagonist. So what does ‘Nadunisi Naaygal’ mean in the film? Nothing. Dogs only appear
There are not too many characters in the film and the director is able to extract good performances from his actors.
Veera as the psychopath is there in almost every scene. He gets a fairly long solo sequence at the climax to perform. His ‘Anniyan’ acts there of course are déjà vu. Considering he is a new comer, Veera passes with above average marks.
Sameera Reddy as Sukanya takes the second half along with him. As a traumatized girl waiting to be killed by a psychopath, Sameera has shown fear good. She can claim to have acted in this film as she is better off than her earlier two Tamil films.
But the cake goes to Swapna Abraham. She scores. As a protective mother figure and a helpless woman to veer away Veera, the singer has proved she is a good actor too. As a twist Gautham Menon’s lucky mascot Samantha Prabhu is also there in a cameo.
Technical department as always prove big strengths to Gautham Menon. Manoj Paramahasa’s cinematography is worth writing. The climax sequence where light and rain play games together is his. As almost the entire film was shot at night it gives the cameraman the challenge. Another notable act is the re-recording.
Gautham Menon had clearly said this film is for the multiplex audience only and we appreciate his foresightedness. This is definitely not a regular Gautham Menon film. Gautham is a story teller; ‘Nadunisi Naaygal’ looks seaming of incidents to look like a story.
May be you better go to see this film as a film not done by Gautham Menon.
‘Nadunisi Naaygal’ is the story of a boy who turns a psychopath with multiple identity disorder. Gautham has stuck to the theories of this disorder perfectly. But a placid narration is bound to test your patience.
Samar is a child abused by his trusted parent and grows under his neighbourhood Samaritan Meenakshi aunty with a new name Veera. But Veera is haunted by the traumatic events of childhood day and night. He splits off the awareness and memory of the traumatic events to survive in the relationship of Meenakshi. His compulsive disorder makes him possessive of Meenakshi and when she marries, Veera kills her husband. In the mêlée Meenakshi is also burned.
But Veera develops a personality thinking Meenakshi is controlling his multiple identities. His different personalities perform different functions that are destructive. Veera turns a psychopath who is after young girls and associates compulsive love and the violence. When he plays the game with his school friend Sukanya the game ends. Oh yes! I am able to narrate the story. If you still have problems wait for the end credits to roll and there is another proper narration.
‘Nadunisi Naaygal’ was flaunted as a psychological thriller after three decades and strictly warned the weak hearted to stay away. But not really so. The two hours long film fails to grip you. With no logical coherence in development you will fail to sympathise with the protagonist. So what does ‘Nadunisi Naaygal’ mean in the film? Nothing. Dogs only appear
There are not too many characters in the film and the director is able to extract good performances from his actors.
Veera as the psychopath is there in almost every scene. He gets a fairly long solo sequence at the climax to perform. His ‘Anniyan’ acts there of course are déjà vu. Considering he is a new comer, Veera passes with above average marks.
Sameera Reddy as Sukanya takes the second half along with him. As a traumatized girl waiting to be killed by a psychopath, Sameera has shown fear good. She can claim to have acted in this film as she is better off than her earlier two Tamil films.
But the cake goes to Swapna Abraham. She scores. As a protective mother figure and a helpless woman to veer away Veera, the singer has proved she is a good actor too. As a twist Gautham Menon’s lucky mascot Samantha Prabhu is also there in a cameo.
Technical department as always prove big strengths to Gautham Menon. Manoj Paramahasa’s cinematography is worth writing. The climax sequence where light and rain play games together is his. As almost the entire film was shot at night it gives the cameraman the challenge. Another notable act is the re-recording.
Gautham Menon had clearly said this film is for the multiplex audience only and we appreciate his foresightedness. This is definitely not a regular Gautham Menon film. Gautham is a story teller; ‘Nadunisi Naaygal’ looks seaming of incidents to look like a story.
May be you better go to see this film as a film not done by Gautham Menon.
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