Rating: 2.5/5
Production: K. S. Sreenivasan
Cast: Amala Paul, Jayam Ravi, Ragini Dwivedi, Sarath Kumar
Direction: Samuthirakani
Screenplay: Samuthirakani
Story: Samuthirakani
Music: G. V. Prakash Kumar
Background score: G. V. Prakash Kumar
Cinematography: M. Jeevan, M. Sukumar
Dialogues: Samuthirakani
Editing: A. L. Ramesh
Art direction: Jacky
Stunt choreography: Stunt Siva
Dance choreography: Gayathri Raghuram, Prem Rakshith
Singers: G.V. Prakash Kumar, Gaana Bala, Haricharan, Hemachandra, Javed Ali, S. Chella, Saindhavi, Shashaa
Lyrics: Gaana Bala, Kabilan, Madhan Karky
PRO: Jhonson
Distribution: Vasan Visual Ventures
Director Shankar is seen as a true pioneer in the Tamil cinema space as one who advocates relevant messages for the society through his grand movies. His protagonists are these lovable vigilantes who stand up to be counted and try to weed out the corrupt elements from the society at any cost.
Director Samuthirakani has toed a similar line with ‘Ilam Puyal’ Jayam Ravi in Nimirnthu Nil, which true to its name features a spirited young man who can’t tolerate the society’s immoral elements. After being on the receiving end earlier on, he rises like a phoenix with support from likeminded individuals and the all-powerful media.
The first half of the movie packs quite a punch as it is a total ‘no holds barred’ approach from the director. He has spared no one and the corrupt ways and means of a section of government officers and authorities have been portrayed glaringly. These scenes make a great impact among the viewers. The first half sets up the movie with fair amount of intrigue and we wait eagerly for the action to resume after the intermission.
You have to say that it is a role with lot of scope for Jayam Ravi and he is brilliant in the intense close-up scenes when he delivers powerful dialogues very convincingly. The lines are sharp and Ravi is convincing in uttering these lines with the required emotion and modulation.
The movie was also noted pre-release for Ravi’s dual role and in the second half of the movie; we get to see Ravi in a flamboyant character, full of style and extravagance. He also shows his prowess at speaking multiple languages.
The petite Amala Paul performing competently, fits into the movie seamlessly in the first half. The ‘Kadhal Nergayil’ number is a nicely filmed montage on the Ravi – Amala romance.
Soori gets to be more than just the comedian who delivers timing counters and punch lines. He shows that he can emote well too. Sarath Kumar is energetic and majestic in the screen time that he gets, while Gopinath as the fiery TV journalist is efficient.
Nassar doesn’t have much to do while the second heroine Ragini Dwivedi is another character with a minuscule presence. There are a plethora of support characters such as Gnanasambandam, Chitra Lakshmanan, Thambi Ramaiah, Subbu Panchu and Anil Murali (earlier seen in 6 Candles) who make their presence felt. We also have some of Samuthirakani’s regulars who bring about a chuckle with their performances and even their voice.
G.V.Prakash’s background score is effective, but the track featuring a terrorizing and resonating scream gets a little loud. M.Sukumar and M.Jeevan have presented some interesting visuals and angles in the ‘Negizhiyinil’ number.
Nimirnthu Nil, despite its lofty ideals and vision, becomes preachy and exaggerated, as the subject is such. Given the presence of so many celebrated movies in this genre, one might definitely get a feeling of déjà vu while seeing the flick. Logic also goes for a toss, as is the case with such movies.
The second half doesn’t live up to the pace of the first, thanks to some redundant elements in the screenplay. The director has bowed down to needless song and dance sequences and these portions extend the running time and blunt the movie to an extent.
The VFX for the stunt scenes on the highway is tacky and the team could have definitely invested more in the visual effects department. The melodrama and action in the climax could have also been toned down.
All these negatives aside, Samuthirakani has to be patted on his back for the drive and resolve in his script and his intentions to voice for a change in society through his movie. Jayam Ravi stands to be counted yet again, with a terrific performance and has translated Samuthirakani’s vision on to the screen fittingly. The message ‘Change begins from within’ though oft-repeated, is one worth reiterating.
Production: K. S. SreenivasanCast: Amala Paul, Jayam Ravi, Ragini Dwivedi, Sarath Kumar
Direction: Samuthirakani
Screenplay: Samuthirakani
Story: Samuthirakani
Music: G. V. Prakash Kumar
Background score: G. V. Prakash Kumar
Cinematography: M. Jeevan, M. Sukumar
Dialogues: Samuthirakani
Editing: A. L. Ramesh
Art direction: Jacky
Stunt choreography: Stunt Siva
Dance choreography: Gayathri Raghuram, Prem Rakshith
Singers: G.V. Prakash Kumar, Gaana Bala, Haricharan, Hemachandra, Javed Ali, S. Chella, Saindhavi, Shashaa
Lyrics: Gaana Bala, Kabilan, Madhan Karky
PRO: Jhonson
Distribution: Vasan Visual Ventures
Director Shankar is seen as a true pioneer in the Tamil cinema space as one who advocates relevant messages for the society through his grand movies. His protagonists are these lovable vigilantes who stand up to be counted and try to weed out the corrupt elements from the society at any cost.
Director Samuthirakani has toed a similar line with ‘Ilam Puyal’ Jayam Ravi in Nimirnthu Nil, which true to its name features a spirited young man who can’t tolerate the society’s immoral elements. After being on the receiving end earlier on, he rises like a phoenix with support from likeminded individuals and the all-powerful media.
The first half of the movie packs quite a punch as it is a total ‘no holds barred’ approach from the director. He has spared no one and the corrupt ways and means of a section of government officers and authorities have been portrayed glaringly. These scenes make a great impact among the viewers. The first half sets up the movie with fair amount of intrigue and we wait eagerly for the action to resume after the intermission.
You have to say that it is a role with lot of scope for Jayam Ravi and he is brilliant in the intense close-up scenes when he delivers powerful dialogues very convincingly. The lines are sharp and Ravi is convincing in uttering these lines with the required emotion and modulation.
The movie was also noted pre-release for Ravi’s dual role and in the second half of the movie; we get to see Ravi in a flamboyant character, full of style and extravagance. He also shows his prowess at speaking multiple languages.
The petite Amala Paul performing competently, fits into the movie seamlessly in the first half. The ‘Kadhal Nergayil’ number is a nicely filmed montage on the Ravi – Amala romance.
Soori gets to be more than just the comedian who delivers timing counters and punch lines. He shows that he can emote well too. Sarath Kumar is energetic and majestic in the screen time that he gets, while Gopinath as the fiery TV journalist is efficient.
Nassar doesn’t have much to do while the second heroine Ragini Dwivedi is another character with a minuscule presence. There are a plethora of support characters such as Gnanasambandam, Chitra Lakshmanan, Thambi Ramaiah, Subbu Panchu and Anil Murali (earlier seen in 6 Candles) who make their presence felt. We also have some of Samuthirakani’s regulars who bring about a chuckle with their performances and even their voice.
G.V.Prakash’s background score is effective, but the track featuring a terrorizing and resonating scream gets a little loud. M.Sukumar and M.Jeevan have presented some interesting visuals and angles in the ‘Negizhiyinil’ number.
Nimirnthu Nil, despite its lofty ideals and vision, becomes preachy and exaggerated, as the subject is such. Given the presence of so many celebrated movies in this genre, one might definitely get a feeling of déjà vu while seeing the flick. Logic also goes for a toss, as is the case with such movies.
The second half doesn’t live up to the pace of the first, thanks to some redundant elements in the screenplay. The director has bowed down to needless song and dance sequences and these portions extend the running time and blunt the movie to an extent.
The VFX for the stunt scenes on the highway is tacky and the team could have definitely invested more in the visual effects department. The melodrama and action in the climax could have also been toned down.
All these negatives aside, Samuthirakani has to be patted on his back for the drive and resolve in his script and his intentions to voice for a change in society through his movie. Jayam Ravi stands to be counted yet again, with a terrific performance and has translated Samuthirakani’s vision on to the screen fittingly. The message ‘Change begins from within’ though oft-repeated, is one worth reiterating.
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