'Nandhan' movie review: A relevant premise let down by a patronising tone
The antagonists exhibit behavior reminiscent of cartoon villains, complete with exaggerated gestures and maniacal laughter.
Nandhan movie
Nandhan opens with a statement from the director, emphasizing that caste discrimination continues to manifest in the extreme ways depicted in the film. It effectively conveys the message, “You must accept this reality!” Consequently, whenever the film appears to be excessively appealing to our emotions, the disclaimer serves as a reminder, transforming our skepticism into astonishment. This approach enables the film to effectively elicit the desired emotional response from its viewers.
Nevertheless, while we are prepared to accept the film's portrayal of ongoing realities, director Era Saravanan elicits exaggerated and unsubtle performances from his cast, which paradoxically undermines the film's core message.
The antagonists are portrayed in a manner reminiscent of cartoon villains, complete with exaggerated gestures and maniacal laughter. In contrast, Balaji Sakthivel has embraced his role with enthusiasm, delivering a performance that is both intentionally heightened and thoroughly engaging. Conversely, Sasikumar, despite lacking refinement, convincingly embodies a simple character oblivious to the injustices he faces.
At the outset of the film, two factions of upper-caste men engage in a dispute regarding the selection of the village president. Nandhan, an educated individual from an oppressed caste, highlights the inequitable nature of their selection process and insists on his inclusion in the candidacy. Tragically, he is murdered just moments later. Following this pivotal incident, nearly all characters representing the oppressed caste are portrayed through a condescending perspective.
These characters are crafted as if their oppression stems from a lack of awareness or intellectual capacity to comprehend their situation. The absence of depth in authentically depicting the complexities of caste oppression is evident. The epitome of this oversight is embodied in Sasikumar’s character, Koozh Paanai, also known as Ambeth Kumar.
Presented as an unwavering servant to his casteist employer, his character resembles a caricature of the stereotypes prevalent in a casteist mindset. The primary critique is not that such occurrences or characters are absent in reality. However, when addressing such a delicate subject, the director could have opted for a more measured and nuanced approach. One might contend that Suruthi Periasamy, who portrays Sasikumar’s wife, serves as a voice of reason, consistently recognizing injustice. Nevertheless, her role appears to be primarily constructed to garner feminist accolades.
Numerous cinematic techniques are employed with the deliberate aim of eliciting strong emotional responses from the audience. From the slow-motion depiction of an elderly woman’s burial, as torrential rain rapidly fills her grave with mud, to the prolonged scenes of Ambeth Kumar’s family enduring public violence, the film does not shy away from delivering a powerful emotional impact.
The most poignant moment in Nandhan occurs near the conclusion, where we are presented with montages of real individuals from marginalized castes who encountered harassment while attempting to participate in elections. Although their tears are magnified for effect, Nandhan falls short of authentically conveying their anguish, anger, and the systemic constraints that have oppressed them, all of which resonate in their speeches.
While the film may have intended to address these issues with sincerity, it ultimately struggles to portray the struggles of the oppressed with the necessary sensitivity. Nandhan seems primarily focused on provoking tears in response to injustice. Yet, as the credits begin to roll, one is left pondering whether the film seeks to inspire empathy for the oppressed or merely evoke pity.
🎬 Movie: Nandhan
📅 Year: 2024
🔊 League: Tamil
🔅 IMDB: 8.6
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Written by: JD