NALANUM NANDHINIYUM MOVIE REVIEW

Though set in the present day, the backdrop of rural Erode allows the film to be rooted to values and morals of a traditional sense. Here, family pride stands above all else. The stately Jayaprakash is the head of one such family and is its single source of income while the other able men from the household employ themselves only to ensure the upkeep of the family pride.

Nalanum Nandhiniyum is set within such large families with complex relationships. We are presented with an adopted sister and an ex-flame of Jayaprakash, now married to Alagam Perumal, who vow to have their respective children, Nalan and Nandhini, married to each other just to maintain familial ties. Despite several characters, including Venkat Prabhu playing his usual endearing self, the story manages to center itself around Nalan and Nandhini.

The story as such is a familiar fare of a couple standing up together to face the odds stacked up against them in the form of an estranged family and the task of surviving in a big city with tall dreams of making it big in the movie industry adding to the woes. The challenges that the director puts his characters through are too stock for cinema and for the audience to invest their sympathy wholeheartedly. For those seeking to watch an interesting premise or narration are let down by this simple plot.

Debutant Michael shows good energy and confidence when he’s dancing to Sathish’s choreography. He tries his best to carry it forward to his acting as well but he comes short with his variations during the emotional scenes. Nandita delivers a neat performance in her role as a supportive partner. There are small doses of comedy by Soori in the first half and Chaams in the second but the lack of any intrigue in the narration makes the running time of 132 minutes progress slowly.

Ashwath's music has promise but the overdose of bit songs takes away the sting of his fully worked songs. Nizar’s camera work is commendable, enhancing the production value with well lit frames. Allen’s editing is precise and clean without gimmickry but his cut to the flashback in the first half could have been more pronounced.

Director Venkatesan’s heart is in the right place with his intent and he appears well focused with his execution too, but he can do little to engage the audience with a thin (predictable) plot.