Nadunisi Naaygal has a well-intended message on Child Abuse although the message stays detached from the rest of the film. Scenes of violence, murder and sex witnessed early in childhood creates an emotional dependency in Veera with the woman who rescues him from his father. The promiscuous father puts the kid through orgies, sexually abusing him to make him a serial killer and psychopath. From the 1960's "Psycho" directed by Alfred Hitchcock to the Anthony Hopkins starrer "The Silence of The Lambs", Gautham Menon's "Nadunisi Naaygal" has all of them.
Veera enacts the role of a 13 year old guy which does not look like what is said. The wig can fly off his head at any time, if wind blows on his face. From there on, he goes on to grow butchering girls for which Veera is not the most responsible for. The painful silence of no background music but proper rerecording of sounds engage without the conspicuousness of the absence of the BGM. Live sounding dialogues strain your ears to bleeding putting you in an inability to distinguish English dialogues from Tamil.
Nadunisi Naaygal is definitely not a rural delight but the metros will embrace the film for its stylish making and classy approach. Gautham Menon does sell and his directorial finesse which borrows only creative aspects from popular movies to transmute them in his style attracts and yet the director does portray women with adherence to the likeability of women. He has tried to conceal the fact that the film titillate with subliminal and sexually suggestive content and has come up trumps in doing so.
Veera shuttles between Narcissism and Inverted Narcissism of satisfying his urges and the desires of Meenakshi Amma whose fate is revealed at the end. It is symbolically revealed in the middle when she suffers burn injuries after Veera sets her husband ablaze. Nadunisi Naaygal is far from Bharathi Raja's Sigappu Rojakkal but is quite close to "The Silence of the Lambs" in terms of Meenakshi Amma's desire to knit the hair of young girls. This also has something unrevealed till the end.
The emotional dependency then turns out to be an emotional interdependency between the two pivotal characters - Veera and Meenakshi Amma. One fine moment of the film is when the director creates a 'no way out' for Sameera Reddy when Veera is beaten by her. When she attempts to escape, a completely new set of enemies confront her which is one of class in writing. With a shorter length and with releasing in lesser theaters, the hitherto unseen aspects of Indian filmmaking can generate prospects for the film to release in more centers.
Even then, the inspirations are evident which has happened from 'Psycho' and 'The Silence of the Lambs' predominantly and a slew of other films of the contemporary period. From the 'Psycho' to 'Anniyan', 'Nadunisi Naaygal' has all which is also based on a real life story. The leitmotiv of the film on 'Child Abuse' is overshadowed by the psychopathic tendencies of the film.
The climax is altogether riveting with unseen production values, designs and dark, handheld and candid cinematography of Manoj Paramahamsa. When Veera is shot by Sameera Reddy, it almost looks like a deliberate "The Silence of the Lambs". Nadunisi Naaygal is not suitable for women as well as children and saying it is not at all suitable is more apt, since it captivates you with disturbing images, blood and gruesome
Veera enacts the role of a 13 year old guy which does not look like what is said. The wig can fly off his head at any time, if wind blows on his face. From there on, he goes on to grow butchering girls for which Veera is not the most responsible for. The painful silence of no background music but proper rerecording of sounds engage without the conspicuousness of the absence of the BGM. Live sounding dialogues strain your ears to bleeding putting you in an inability to distinguish English dialogues from Tamil.
Nadunisi Naaygal is definitely not a rural delight but the metros will embrace the film for its stylish making and classy approach. Gautham Menon does sell and his directorial finesse which borrows only creative aspects from popular movies to transmute them in his style attracts and yet the director does portray women with adherence to the likeability of women. He has tried to conceal the fact that the film titillate with subliminal and sexually suggestive content and has come up trumps in doing so.
Veera shuttles between Narcissism and Inverted Narcissism of satisfying his urges and the desires of Meenakshi Amma whose fate is revealed at the end. It is symbolically revealed in the middle when she suffers burn injuries after Veera sets her husband ablaze. Nadunisi Naaygal is far from Bharathi Raja's Sigappu Rojakkal but is quite close to "The Silence of the Lambs" in terms of Meenakshi Amma's desire to knit the hair of young girls. This also has something unrevealed till the end.
The emotional dependency then turns out to be an emotional interdependency between the two pivotal characters - Veera and Meenakshi Amma. One fine moment of the film is when the director creates a 'no way out' for Sameera Reddy when Veera is beaten by her. When she attempts to escape, a completely new set of enemies confront her which is one of class in writing. With a shorter length and with releasing in lesser theaters, the hitherto unseen aspects of Indian filmmaking can generate prospects for the film to release in more centers.
Even then, the inspirations are evident which has happened from 'Psycho' and 'The Silence of the Lambs' predominantly and a slew of other films of the contemporary period. From the 'Psycho' to 'Anniyan', 'Nadunisi Naaygal' has all which is also based on a real life story. The leitmotiv of the film on 'Child Abuse' is overshadowed by the psychopathic tendencies of the film.
The climax is altogether riveting with unseen production values, designs and dark, handheld and candid cinematography of Manoj Paramahamsa. When Veera is shot by Sameera Reddy, it almost looks like a deliberate "The Silence of the Lambs". Nadunisi Naaygal is not suitable for women as well as children and saying it is not at all suitable is more apt, since it captivates you with disturbing images, blood and gruesome
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