Nirangal Moondru Review - This Colourful Presentation Needed More Flavour!

Ashwin Ram

Nirangal Moondru is an Interlinked Drama starring Atharvaa, Sarathkumar and Rahman in the lead roles. The film is directed by Karthick Naren and produced by Ayngaran International.

Premise:

There is a missing school girl who is Rahman’s daughter and a stolen bound script that is written by Atharvaa, both the cases are being handled by Police inspector Sarathkumar. How they get resolved forms the crux of the story.

Writing/ Direction:

The skeleton is damn interesting, the basic structure has apt plot-points to be interlinked. All three stories get the basic elements right, which are worthy enough to be told on-screen. In a world like this, screenplay is the ultimate driving factor, but unfortunately it is a little off here. The first 20 minutes predominantly showcases the lives of the school boys which is quite engaging, throws a curious moment and then moves ahead to focus on the next chapter. An unique presentation style is applied to execute Atharvaa’s trippy portions, displaying the after effects of drug usage. It gets extremely boring as the same approach is repeated whenever he appears and in fact there is a lot of screentime to this nonsense. Also, there isn’t really a purpose to it, the progress could have been the exact same without him being a drug addict and still his activities would be very much believable. Sarathkumar’s scenes are regular, yet manages to hold to an extent. The main issue is that the procedural is weak here, the film fails to strengthen the nice establishments. The different tracks are good to listen to as one-liners, the development lacks excitement. Karthick Naren’s making is stylish, especially the reverse fight towards the end is so slick, but certain aspects are overdone, the English speaking dialogues for example, appears just as a show-off. Even the locations are too exotic for the school kids, hence the Chennai nativity is missing. All said and done, the climax is fantastic, beautifully concluded and the contradiction is very thoughtful.

Performances:

Atharvaa as a stoner is irritating, such an artificial acting. Rahman is subtle and he has given his best in terms of tense expressions, etc. Sarathkumar’s scenes were enjoyable mainly due to his quirky attitude, he does offer that commercial value to the flow. Ammu Abhirami gets only a minimal screen space in a crucial character that drives the film, however scores in an empathetic scene at the end. Easan fame Dushyanth does well when gotta be stiff, but puts up an amateur show when he has to be dramatic.

Technicalities:

Like all the previous works of Karthick Naren, technical finesse is very much there in this one too. Jakes Bejoy’s background score is solid, he uplifts the lavishly presented trippy stretches with quirky music and is powerful during the intense sequences as well. Topical camera work by Tijo Tomy, crystal clear night shots, colour palette is maintained perfectly and what not. Editor Sreejith Sarang has done what is possibly the best for the flick, just 2 hours runtime, yet the tiring and repetitive trippy portions which act as the major spoilsport could have been trimmed.

Bottomline

The key points have been neatly formed, more depth in writing was essential to deliver an engaging outing. A watchable flick is spoiled by the endless trippy stretches. Lovely finale, but the flow isn’t supportive to make it an impactful one.

Rating - 2.5/ 5