|
Nandalala is about the journey of two kids, one a
runaway child (Ashwath Ram) and another castaway imbecile
(Mysskin), who are in search of their respective mothers
and about the various people they come across in this
trip. They benefit some in this travel while they
are helped by some. At the end of it, they do not
get what they sought out for but find something else.
After all, isn’t this life all about?
‘Simpler a thing is, nobler it is’. The
simplicity of Bhaskar Mani (Mysskin) who is a child
in an adult’s cloak charms you, bewilders you
and makes you like him. As we moult our childhood
robes and shed our innocence, we cover ourselves slowly
in innumerable layers of deception and somewhere along
the line completely lose out the simple US and our
uncomplicated emotions. A pointer to this is the scene
where Mysskin pleads with the whipping lorry driver,
“pom pom nee sollithaane eduthen’. A frame
where innocence and compassion strikes you at the
same moment.
Mysskin does not take the help of lengthy dialogues
but resorts only to Raja’s music which obliterates
the need for words. The film begins with the ‘pause’
technique of film making which Mysskin is known for.
Later on, when Snigda recounts her life to no one
in particular and the camera that freezes on the four
apparent listeners with stoic countenance is simply
brilliant.
It is not always an eloquent speech that conveys your
thoughts but simple expressions that seem to say it
all. This is best seen towards the end, when Ashwath
Ram, tries to make amends for his hurting words at
Mysskin, comes towards him and helps him wear the
right shoes. It is after all an ordinary deed but
the profundity of it is brilliant. We can’t
help but feel proud of this film. Kamal Hassan is
going to heave a big sigh of relief on the course
of Tamil films now.
It is good that Mysskin has donned the role of a protagonist
as any other hero would have descended with an image
baggage thereby discrediting the characterization.
We only see Bhaskar Mani. His mercurial emotions,
his tone of voice, body language, the fear in his
eyes, his contempt, anger, affection, dialogue delivery
are all a revelation. Ashwath Ram renders the right
kind of performance. Snigda, albeit a small one, essays
her role with finesse. Nasser for ’12 seconds’
and Rohini without any dialogues are impressive.
Mahesh Muthusamy scores with his camera with his low
angles and wide frames and elevates the film to top
notch. Although, the film travels for most part along
a road, he has managed to bring out the mood and feel
of narration effectively.
Nandalala is an exhilarating and a soothing experience
for every true cine buff which lingers with you long
after you have left the theatre! Thank you Mysskin!
Thanks,
Jyothsna Bhavanishankar
bhavnasmom@gmail.com
|
