’Naan Kadavul’ the much awaited film has at last reached the theatres after a long wait by Bala and Ilayaraja fans. In short it narrates the visit of a Aghori Sadhu from Kashi to his native village and his acquintance with a few characters there.
The characters mostly comprise the group of beggars, controlled by a beggar mafia. The beggars are mostly freaks, in various sizes and shapes, along with a blind heroine. The character of the Sadhu is mostly mystical, with blood soaked eyes and ganja smoke atmosphere.
He follows the tradition of Aghoris who stay in cremation grounds, and believed to have the power of granting mukti to poor souls; they need not have rebirths. He is adamant, rough and never smiles. Family ties never bind him. His presence sends terror in even cops’ spines.
The beggars world is author backed. They are from the dialogue writer Jeyamohan’s famous novel ’Ezhaam Ulagam’ (The seventh world). Every character is lively, and personally I wished that the whole novel could have been pictured, as it was a real masterpiece.
They have a master, who buys and sells them for a profit, and we have strange characters in his mould, from Kerala too. The film ends with a great fight and the hero granting Mukthi to the heroine. The words Hero and heroine are just used for the sake of using, as they have no other relation between them.
The film is in large chunks rarely connected. The hero’s character is the usual Bala creation, and we may remember Sedhu, Nandha and Pithamagan, but I feel it is not well defined here, as a whole. Somehow he is distant from the viewer’s eyes, maybe it is the success of the director. Arya’s physique, his yoga postures, his eyes, his long golden hair, his hoarse voice, his body language..everything is novel and I wonder what would have happened if Ajit, who was selected first for the role, acted this role. Pooja as the blind heoine also excels.
The director has succeeded in bringing out the best performances from actors who play the freaks and sundry beggars, as many of them are mentally retarded. The star technical crew is an added attraction. The cinematographer Arthur Wilson has done a commendable job, except the close ups of the hero which stands aloof with others.
The editor is the famous Suresh Urs, and as a professional, he has done his job right, but the scenes never flow in a rhythm and rather lengthy and the blame should go to the director. Award winning Art director Krishnamurthy has created the sets, and they remind us that they are sets, the arches on the hill, the den of the beggar mafia are all artificial.
Jeyamohan, the ace novelist has written the dialogues, which are sharp and witty in most places. But the end scenes, where Pooja meets a nun, her final lengthy dialogues, etc seldom reach the audience by the way of picturisation. Ilayaraja is the real star of the film. His songs are already hits and soul filling. Some songs are missing in the film. The re recording is extraordinary, especially in the action scenes. Poor Maestro, at least now, he should compose for some western movies, to bath in the limelight, he deserves more than any others.
The movie is different from other Bala’s movies. The Police station scenes are crude and lengthy. The court scenes remind us of his early films. The character of the hero is not well defined. As a whole, while seeing the end product, I wonder why it took such a long time for producing this film. But it is a different movie that should not be missed by Movie fans.