That is the story in a nutshell, but there is more to the movie than just the storyline. In fact, the story seems to be of secondary importance to the depiction of unsavory and disturbing realities. Bala has created a world of misery where cruel men make the rules. But, it looks like he was not sure as to where to draw the line. The dungeon like setting, the mutilated people (you see people with all kinds of deformities), the sharp and crude words used and the animal like treatment meted out to them take a toll on the viewer very early in the movie. It looks like the director wanted to leave a lump in your throat but ends up giving you an uneasy stomach. The movie can be analyzed at length if necessary, but it is suffice to say that Bala’s signature shines through at all places. His attention for detail, the painstaking picturisation, the raw and original stunts are all there. And, even in the midst of such depressing nothingness he manages to infuse some very natural and likeable humor, treading a very thin line. It helps to liven up the atmosphere a bit. But the end feeling is that he got too obsessed with depicting the cruelties inflicted on the beggars by their ‘owners’ which does not help the final product.

Performances! In a Bala film, you expect the actors to be at their best. Surprisingly, for all the hype, Arya does not have that much of screen time though he does make an impact whenever he appears. He doesn’t have much to work with though. He has always got the same stoic expression, uttering the same intonations and striking the same poses. But getting to maintain that demeanor is not easy and he has worked hard to do it which can be seen. Pooja as a blind beggar touches us when she first appears, but the feeling soon wears off. Nevertheless, she has maintained a consistent feeling of pathos putting in considerable effort into her performance. The disabled and mutilated people, who should have been picked straight out of real life, live their lives on screen. But the real surprise packet of the film is the comedian Krishnamoorthy, who has been previously known only for his capers with Vadivelu. He turns out a really well etched performance. All credit to Bala for spotting the serious actor in him.

Technically speaking the movie is high on production values. Be it the townscape of Kasi or the rustic temple environs or the dark dungeons, the images have been captured well. Ilayaraja’s music surprisingly doesn’t make one sit up and take notice, mostly because it is gelled neatly into the narrative. Dialogues by Jayamohan are few but very crisp and one feels that he had an influence in the way actors and an actress of the current generation are mercilessly bashed about in a scene. And, if you think that the movie is set mostly in Kasi then you are wrong, it is hardly around for 10 minutes.

Bala has tried to debate a few serious issues in the movie. The first is obviously about who is God? He also talks about life and death and how death is actually a boon to one who cannot lead a good life. Summing up, Naan Kadavul is not a movie that everyone can digest. It shows reality in such brutality that you wonder whether such things really do happen. It cannot be called violent; the word ‘brutal’ has to be repeated often to describe the movie. One feels the director could have toned it down a bit, it leaves one very disturbed. And, it is hard to believe that the censors passed this movie with a U/A, it is difficult to see how children can be expected to digest such fare which at times borders on the gory. Even adults would need a tough mind to endure this movie. It will make you squirm, cringe, nod and laugh in alternation. Don’t’ expect a regular entertainer, be prepared to get jolted.

Verdict: Brutal depiction of a world unknown