Nanayam is a fresh attempt in Tamil cinema. Bank robbery is the theme and the script is full of interesting twists. The pace at which the film unfolds coupled with technology put to good use, make it a hugely watchable fare.
The story is about a young man, who becomes a victim of his own circumstances, when he helps a gang to rob a bank. Ravi (Prasanna) lands a job in Trust Bank, Chennai, after he helps its CEO Vishwanath (S P Balasubrahmanyam) when he is attacked and robbed by an unidentified man.
Ravi is keen to to start his own business, but Vishwanath urges him to gather the necessary experience first. Ravi, who is in charge of the security system in the bank, develops a fool-proof method and urges Vishwanath to declare that his bank is the safest in the world.
Soon Ravi comes across a journalist Nandhini (Ramya). She is a divorcee and he falls for her instantly. When they spend a night on a beach, Ravi is attacked by a gang. At the end of the fight, he is hit with an iron rod and knocked down.
Next morning he wakes up to understand that the attacker was Nandhini’s ex-husband. His troubles begin when he reaches home. Fareed (Sibiraj), an outlaw informs Ravi that Nandhini’s ex-hubby was killed by him. As proof he has photographs which show Ravi bashing the man on the beach.
Fareed threatens Ravi by saying that if he wants to escape being arrested for the murder he should agree to his plan. His idea is to rob the Trust bank and he wants Ravi to assist him. When Ravi resists, he kidnaps Nandhini and threatens to kill her. Eventually Ravi agrees but he is in for a rude shock from Nandhini and his mentor Vishwanath.
Prasanna looks cool and suave. The story is hinged mainly on his performance and Prasanna looks completely at ease shouldering the responsibility. Sibiraj deserves the accolades as well.
The young actor plays the baddie to the hilt. Ramya looks cute and charming, while S P Balasubrahmanyam is impressive in an important role.
James Vasanthan, who made an impressive debut has an average outing in Nanayam. Thaman’s brisk background score sets up the momentum.
Nanayam also derives its appeal from the rich shades used by cameraman Omprakash. Produced by Capital Film Works the movie has a few loose ends but is still enjoyable.
Ayirathil Oruvan (Sweet and sour) Director Selvaraghavan is a past master at handling sensitive emotional issues. When he tries his hands at fantasy adventure, the result is Ayirathil Oruvan. Selvah’s battle was half-won when he chose its content and conceived its execution.
Selvah explores a genre which is rather new to the Tamil audience. The film is more like Apocalypto meeting The Gladiator. The movie comes sleekly packaged with breathtaking visuals and an unusual way of storytelling.
Sukumar (Karthi) is a happy-go-lucky loader. He is chosen to help a team of archaeologists who are on a major mission. Like in his earlier films, it is the heroine around whom the major part of the story is set and revolves.
Archaelogist Lavanya (Andrea Jeremiah), Anitha (Reema Sen) and a troupe of government forces are about to set sail to an island in Vietnam on a mission.
Helping them is a team of loaders led by Sukumar (Karthi). Their voyage has them encountering rivers, mountains and jungles and the trio (Karthi, Andrea and Reema) even loses its way. However they manage to reach the island of ethnic Tamils ruled by an emperor (Parthiban).The people there are reeling under poverty.
Thrills and spills awaits the trio on the island. The rest of the story tells you if they surmount the challenges and succeed in their mission .
Karthi seems to be well and truly out of the Paruthiveeran mould. He plays a typical Chennai-bred labourer. Andrea and Parthiban amaze us with some spontaneous performances.
But walking away with all the claps is Reema Sen. She has sunk her teeth into the role which has her playing a tough government employee and then a descendant of a kingdom keen to achieve her ambition.
Ramji’s makes magic with his cinematography. The island looks very believable through his lens. G V Prakash’s songs make the right impact. His background score energises the movie. The biggest minuses of Ayirathil Oruvan are its computer graphics.
They challenge the laws of physics, the most indigestible being the Gladiator type stunt scene. It’s length is its other problem. The film seems to beat around the bush post-intermission. It certainly could have done with some clipping and trimming.
The morbid visuals towards the climax seem to have been included with the sole purpose of making the audience squirm in their seats.
Producer Raveendran deserves special appreciation for supporting a quality entertainer. Ayirathil Oruvan seems to be a concoction of awesome surprises and agonising disappointments. What will stay with you, the awe or the agony? That is the question.
