Nanban Movie Review: A Friend in Need

Posted at January 13th, 2012 under Featured, Movie Review, Review | Comments

After Pokkiri Pongal some two years ago, Ilayathalapathy Vijay is back with his bang of humor oriented action in Nanban. To be honest, this movie is entirely deviated from the usual stint of Vijay and Shankar for that matter. Shankar wanted this movie to be an education on educating the academics in a comical manner. But, remember there is no lapse on the message to the intended group. First of all, it is Shankar who should be patted on his sacrifice for his routine touts for a film. He reduced the grandeur of his old films, whether it could be settings or the costumes, Shankar is too crafty for the characters. He has devised a new style in emanating this remake so as to retain the originality of theme as well balancing the native touches. As every director would disclose the entire movie in a single, we can deduce this movie as , engineering the education for the current trends.

Shankar succeeds in deploying his imagination, which is his regular charm, in the most scenes. He handles even the minute detail with much care and does not take any risk to be digressing from the narration. Shankar is well conscious that the audience is already aware of the theme and he cannot exaggerate neither abbreviate any sequences. Shankar’s skill wins in his narration of the story without any lapse or loose tact. He accomplishes well so that the real events witnessed in the original could be retained.

In Nanban, there are three major elements which need special mention, apart from Shankar – Vijay, Satyaraj and Harris Jeyaraj. If Kadhalukku Mariyathai is a classic for Vijay of the previous decade, this could be termed as a beginning for his another genre. Vijay understood the core of the film and refrained himself from any punch dialogue, unbelievable stunt moves or the hallmark of item number song. In a way, Vijay is let to act for the script spread to him and not thrust upon any action to belie the charm of the character. His mere presence in the engineering institution atmosphere tells us that he is for a purpose.

As a righteous student, toiling to set right the flaws in our education, Vijay is at his best. His affinity with Jeeva and Srikanth in the college for the sake of accumulating the support for his cause makes the story move. In fact, the introduction of Jeeva as the son hailing from a poor family and Srikanth too attends to college for meeting the dreams of his pathetic parents. But the non-villainy role from Virumandi Santhanam, Satyaraj spins the situations rapidly. Above all this Panchavan Parivendan is the lone fighter against all the evils looming in the campus. This he achieves with mild approach, in an intelligent manner rather than violent or revolutionary move.

Vijay’s encounters with Satyaraj, or with Satyan for that matter, get more attention from us. He plans, executes and sails safely and nothing else. For him what counts is the guts to face the stupendous deeds of evil grown in the society. Ultimately he wins in every race and reaches the peak. As he rightly defines what is a book, his definitions define his character. He is dragged to ragging but his timely sense of humor saves him from the event. He sticks not only to his principles, but also to genuine friendship. He lashes at the centre which devises our learning methodologies and at the same time comes out with a solution or an alternative. He advocates for a new set of approaches in place of same old stereotyped standards of education. In another means, he suggests via media to reach the destination easily and quickly. To reason out things as we observe, to question the wrong as we witness and to leave something for our life is his mission and vision. He does not scorn at the academics but points to the ponder that how it could be tried experimentally. Shankar tries to take place all his ideologies on the shoulders of Pari who propagates through his message. Yet, the frames do not come under the sense of any documentation or preaching.

For those who have watched Vijay in all his films and who have not watched 3 Idiots, then Nanban is a real treat. They can watch Vijay in a humble and subtle execution of his character. Also we cannot write off Jeeva and Srikanth for that matter, because they only carry forward the nuances of learning to this society. They get rejuvenated after the arrival of Pari and their life gets new blood with his affinity. The humor is enhanced once they become one by heart. Shankar is saved by these characters just that the story cannot revolve around Vijay for the entire session. Ileana, back after Kedi, is at her postures to please the audience with her dances and smiles. Shankar knows the pulse of the audience and has justified her inclusion. SJ Suryah’s cameo can be digested to some extent.

Harris Jeyaraj has no regrets over Shankar that he came to him after a gap from Anniyan. Having noticed the songs in original Hindi version, Harris might have felt easy to set his mind. Whether it is a song or the background score, Harris is replete with his skills and the special numbers are Asku laska and En Friend. A real tribute to the music lovers and Harris can best be classified for his gentle touch without any uneven musical notes. Harris should have tried to increase his mind for other numbers too.

If the songs are so much enchanting to ears, it is Manoj Paramahamsa’s camera which speaks a lot in addition to characters. This film is a refined and enhanced effort from Manoj after his past victories like Vinnaithandi Varuvaya. In fact, Manoj’s focus is better on his future and it is bright and colorful. It is to be mentioned that he is left with limited scopes of locale unlike an usual Shankar movie where lot of locales will fill in the frames. Editing from Anthony receives some accolades since for this sort of movies, the sequences should be wise and witty.

Shankar applied his own resolution to the level of the movie by employing the youth Madan Karky for creating some useful dialogues. This is essential that the script is based on the findings of the happenings in an engineering institution. Madan Karky is quite fitting as he is a real college faculty.

In spite of all these merits, Slow Narration & Movie’s length (3 hrs 10 mins) is a letdown which will affect the repeat audiences. Ileana’s characterization and Satyaraj’s over-enthusiasm is also weakening its chances. The movie has got its excellent opening now as it got released three days before Pongal and Two days before the Vettai release. Without any doubt, Nanban will be a hit but its fate to become a Mega Hit and then a Blockbuster is now completely depends on (the Screenplay and Output of) Vettai.

Positives

• Vijay’s neat and gentle depiction
• Subtle portrayal of characters
• Madhan Karki (& Shankar)’s Effective dialogues
• Manoj Paramahamsa’s Camera
• Lessening the extravaganza

Negatives

• Length & Slow Narration
• Sathyaraj’s over enthusiasm
• Ileana’s acting
• Comparison with 3 Idiots

Verdict

Nanban – A friend in need

Rating: