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| Having said that, NN is the story of a boy, who has been a victim of child abuse, and the havoc he causes to women. Samar, an eight-year-old motherless boy lives with his father in Mumbai who leads a colorful life indulging in orgy. Samar gets subjected to sexual abuse by his father and is rescued by his neighbor, a middle aged single woman Meenakshi Amma who names him Veera, takes him under her wings and protects him. Daunted and chased by the ghosts of his painful past, what Veera does becomes the trigger of all things to follow in the rest of the film. Although the issue of child abuse has been dealt in Kaadal Kondein, Achchamundu Achchamundu etc., Gautham has managed to tread this subject in a subtle but at the same time, in a dignified fashion. The way he has picturized the scene where Veera comes to Meenakshi Amma for an emotional succor which takes on a different shape later is highly balanced and even a slight slip could have completely disfigured the vision. He has brought in the pain, shock, confusion, vulnerability, helplessness and succumbing to the inevitable in brilliant manner through the artistes. Swapna as Meenakshi Amma, looking like a combination of Konkana Sen Sharma and yesteryear actress Shoba, scores heavily in this sequence. Newcomer Veerabahu as Veera dishes out a neat performance as someone suffering from delusion. Although there are occasions where he tends to overdo, his overall act deserves plaudits. His voice adds to his character which is docile at times and menacing sometimes. Sameera Reddy makes her appearance just before the interval and brings out the right emotions trying to escape from the psychopath and the Rottweilers. Deva as the ACP looks too young, fresh from college but passes muster. It is normal to amplify the effects in such a psychological thriller through music but Gautham has done away with that and the absence of music is never felt anywhere at all. Manoj Paramahamsa’s camera angles and his lighting sensibilities enhance the feel of NN. The shot where the 8-year-old Samar emerges from the gate as 13-year boy is noteworthy. Manoj’s camera conveys more than words in crucial sequences. Anthony, as usual, has used his scissors well to bring out a crisp but coherent product. Despite the subject being heavy and difficult to stomach, Gautham has the perfect grip on his screenplay as well as on his audience. The film is engaging right through and the desire of wanting to know ‘what next’ propels it in a uniform pace. The director should also be applauded for not bowing down to any cinematic syntax. Perhaps, being a producer has helped him in this domain. The fact that there's no music or soundtrack is never felt during the course of the movie, thanks to the tight screenplay. There are times when NN reminds you of Balu Mahendra’s Azhiyaada Kolangal and Moodupani when the young man feels extremely possessive about the older woman. Gautham has also rendered a social message and has cautioned women through a dialogue of Veera which says that women are generally intelligent but they can easily be taken for a ride through social networking sites. Let's get the facts right. Nadunisi Naaygal is a dark movie and there's no point fretting about the movie's nature since the genre demands certain gloominess, that is well presented by Gautham. Congrats Gautham for the brave attempt to drive home a socially relevant point in a dignified manner. You have done the tightrope walking quite efficiently! | |||||||||
Thursday, April 7, 2011
NADUNISI NAAYGAL REVIEW
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