Production: Sathyam Cinemas, Aghal Films
Star-casts: Siddharth, Priya Anand, Nithya Menon, Mouli, Geetha and others
Ad filmmakers have often tried their luck in films and their endeavoring attempts have yielded them favorable results. Say for instance, Rajiv Menon made just couple of movies ‘Minsara Kanavu’ and ‘Kandukondain Kandukondain’ that are still regarded as the best entertainers. So has been the unique attempts of Pushkar-Gayathri of ‘Oram Po’ and ‘Vaa’, which didn’t have a proper plot, but boasted of some creative quotients in advertisement commercial style. Here comes Jayendra, who has been a part of several films made by Mani Ratnam. He makes his debut directorial with ‘Nootrenbadu’, which with its songs and rich visuals had kept our eyeballs fixed over it.
‘Nootrenbadu’ as the title suggests is about a man journeying towards his destination in 6 months. Ajay rechristens himself as Mano on arrival in Kasi as a young boy influences him vividly. In Chennai, the youngster finds gleeful with the ambiance of finding friendship with his house owners (Mouli and Geetha), bunch of boys delivering newspapers amd Vidhya (Nithya Menon), a photo-journalist. He assures that everyone around him are influenced happily by his gestures. But a hidden mystery about his past in San Francisco and his marriage with Renuka (Priya Anand) becomes an ultimate twist in the tale.
Siddharth seems to have learned a lot over 7 years working in Telugu and Hindi film industry. Naturally having been teamed up with best filmmakers has let him on for matured performance.
To mark in simple words – it’s a flawless performance by Sid, who keeps over emoting perfectly to any extents.
The sequence in which he reacts towards the disguised form of Devil needs special mention. Nithya Menon with her simple cherubic looks and bubbly nature easily carries away our attention. Priya Anand is too glamorous and even in scenes that desperately requires her expressions, it’s her skimpy costumes and glam-appeal that is prevalent. Mouli and Geetha as aged couple and house owners are on their best.
What goes wrong with the film is dragging screenplay during second half that leaves audiences dumbfounded about the climax. It would have been better if the duration was kept short. Moreover, the film has chances of getting more popular if the makers had made the film either as a crossover flick or at least dubbed in English.
Songs by Sharreth needs a big round of applause as almost all the tracks are so laudable and gains more intensity with the cinematography of Balasubramaniam. Jayendra establishes his ad-film techniques across many situations. To be specific, we find the song ‘Nee Korinaal’ to be more off an advertisement commercial as the protagonist relentlessly gifting his wife on birthday.
The film may not be welcome in rural areas for it would sound like another piece of old-hat formula where the protagonist has a problem with life and yet deals it in an efficient way.
On the whole, ‘Nootrenbadu’ has nothing special to mark upon the story while narrative structuring by Jayendra and Subha are okay, but gets down terribly with pace in second half. But with the changing times where the youngsters dominate major percentage of theatre-going audiences, it will have an impact on them with a good message at last.
- Balasubramaniam’s Cinematography
- Best in Class Costumes
- Everything except the above three
Jayendra sarma clutches the rule book crushingly but throws innovation out of the window. Rule book without innovation offers mere formula. The innovation in cinematography and graphics must extend towards the story, script and screenplay department. 180 makes a semicircle (technical excellence) while the other half (making) is another 180! 180 – Self-Pity!