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Cast: Vikram, Anushka Shetty, Amala Paul, Karthik Kumar, Santhanam, Nassar, MS Bhaskar, Y G Mahendran, Krishna Kumar, Pandi, Baby Sara
Music: G V Prakash Kumar
Producer: M Chinthamani
Direcor: Vijay A L
INTRO:
More than the films that flaunt Vikram as an artiste, it is Vikram himself that any of the movie-buff and even a critic would love to look forward to. Starting from Bala’s Sethu to the recent Mani Ratnam’s Raavanan, the actor has been coming up with unbelievable variations and awe-inspiring innovation in each and every performance. This time, he is playing a mentally challenged father who shared a sensitive bond with his sever years old daughter. Dubbed from Tamil Deiva Thirumagal, Naanna is based on Hollywood I Am Sam. As the title suggests, the film is expected to be a harbinger of emotions. Let’s sink in the same…
PERFORMANCES:
The least you talk about Vikram, the better. For, he leaves nothing for you point out at. The perfectionist in him gushes out in every act and deed. In this case, as a person with developmental disability, Vikram is fantabulous. You could do nothing but get carried away by his presence on screen. He makes you laugh, cry, feel the pain and revel in happiness… along with him. I’m sure he would steal the show at every award function for this outstanding character.
Baby Sara, who played the seven-year-old daughter of Vikram has fitted in the role like anything. One usually can’t expect so much from a child artiste, but she is an asset to the flick. Her subtle sensations and unconditional love for her mentally challenged father is heart-touching. She gave more than 100 per cent for her role and turned out to be a great performer.
Anushka Shetty, on the other hand, as a lawyer lends a great support to Vikram and of course the emotions laced up in the story. For the first time, she tried her luck at enacting comedy and does a decent job too. She deviated from her glamour-doll image and attempted a performance-oriented role, which is laudable. Nazar is really convincing as a topnotch lawyer. Santhanam, Surekha Vani, Amala Paul and others did what their characters demand them to do.
TECHNICAL ANALYSIS:
The scenic locations in Ooty look strikingly exquisite in the film, thanks to the cinematography. Every frame represents to be an artistic marvel. GV Prakash’s music suited well with the story. Nowhere does it sound force-fitted. Background score has indisputably brought life to the movie, but gives you an impression of watching the Tom & Jerry series at times.
The way the plot has been narrated is my personal favorite and I loved it the most. However, the script is too thin and is unmistakably made for claiming awards rather than commercial viability. As regards the screenplay, it is long-drawn-out for the first 45 minutes but picks up pace only later. Overall, it can be rated below average. Direction, then again is one front where it requires more and more. Vijyay appeared immature as a film-maker in the case of Naanna.
PLUS-POINTS:
Emotional scenes
Vikram’s performance
Sara’s performance
Second-half
Hotel comedy
Court scene
MINUS-POINTS:
Too lengthy
First-half
Thin storyline
Lack of commercial elements
Dragged climax
ANALYSIS:
No one could have done as much justice to the lead character as was done by Vikram. As a person who has grown by size and not mind, he outshines and makes a mark in your heart as an artiste time and again. Naanna is an out-and-out Vikram’s film and he rules the roost till the end. You would be helpless but take home Vikram and only Vikram. The story really doesn’t have much on platter but the credit goes to narration. The first-half has no story at all and can be trimmed closing your eyes. The actual one starts only in the act-two, which is really touching and adds the strength quotient to the whole flick.
The film however got some good performances, especially the father-daughter duo. There were moments when I literally shed tears, particularly while watching the court scene. The slightest of feelings that Vikam and Sara communicate for each other are the true highlights and bring in the significance and value of their relationship in a more than life-size canvas. There is also some decent comedy by Santahnam in the second-half. Background music is an asset. In brief, Naanna should have been short and sweet in conveying the content, which it evidently is lacking in.
