Nadunisi Naaygal Review
Nadunisi Naaygal has a well-intentioned message about child abuse, although the message remains separate from the rest of the film. Scenes of violence, murder and sex witnessed in childhood create an emotional dependency in Veera on the woman who rescues him from his father. The promiscuous father subjects the boy to orgies, sexually abusing him to turn him into a serial killer and a psychopath. From “Psycho” of the 1960s directed by Alfred Hitchcock to Anthony Hopkins’ star “The Silence of the Lambs,” Gautham Menon’s “Nadunisi Naaygal” has them all.
Veera plays the role of a 13-year-old boy who does not look like what is said. The wig can fly off your head at any time, if the wind blows on your face. From there, he goes on to cultivate girls by killing the ones that Veera is not the most responsible for. The painful silence of the absence of background music, but of an adequate re-recording of the sounds, is activated without the notoriety of the absence of background music. Dialogs played live make your ears bleed, making you unable to distinguish dialogues in English from Tamil.
Nadunisi Naaygal is definitely not a country delight, but the subways will embrace the film for its flair and elegant approach. Gautham Menon sells and his finesse as a director, who borrows only creative aspects from popular films to transmute them into his style, attracts and yet the director portrays women with attachment to the sympathy of women. He has tried to hide the fact that the film excites with subliminal and sexually suggestive content and has succeeded in doing so.
Veera travels between narcissism and inverted narcissism to satisfy her urges and the desires of Meenakshi Amma, whose fate is revealed in the end. It is revealed symbolically in the middle when she suffers burns after Veera sets her husband on fire. 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 weave girls’ hair. This also has something undisclosed to the end.
Emotional dependence turns out to be an emotional interdependence between the two fundamental characters: Veera and Meenakshi Amma. A good moment in the movie is when the director creates a “no way out” for Sameera Reddy when Veera is hit by her. When she tries to escape, a whole new group of enemies confronts her, which is one of a kind in writing. With a shorter run time and a smaller theatrical release, the hitherto invisible aspects of Indian cinema can generate prospects for the film to be released in more centers.
Even then, the inspirations that have occurred mainly in ‘Psycho’ and ‘The Silence of the Lambs’ and in a host of other films of the contemporary period are evident. From ‘Psycho’ to ‘Anniyan’, ‘Nadunisi Naaygal’ has everything that is also based on a real life story. The film’s leitmotif about ‘Child Abuse’ is overshadowed by the film’s psychopathic tendencies.
The climax is utterly riveting with invisible production values, designs, and dark, manual, candid cinematography by Manoj Paramahamsa. When Veera is shot by Sameera Reddy, it almost seems like a deliberate “Silence of the Lambs”. Nadunisi Naaygal is not suitable for both women and children and saying that it is not quite suitable is more suitable as it captivates you with disturbing images, blood and gruesome murders. This disclaimer must be issued in advance as it cannot accommodate children at any cost.