It won’t be an understatement to say tat ‘Isaignani’ Ilaiyaraaja is the ‘actual hero’ of Mysskin’s ‘Nandalaala’, which has finally hit the screens long after it had been completed. Like in cricket where Sachin Tendulkar is revered as ‘God’ and all other batsman pale off in front of his deeds, Ilaiyaaraja is way ahead of all his contemporaries when it comes to novelty. Here too, his musical genius has stood him in good stead in scoring the music for the film; really, no one else could have done a better job.
Despite accusations that he has ‘adapted’ the theme of the Japanese film ‘Kikujiri’ in toto, Mysskin has proved yet again with ‘Nandalala’ that he is an extra-ordinary director. The ease with which Mysskin is able to transfer the emotions on screen to the audiences across is something that’s truly extra-ordinary.
Check Out : Nandalala Movie Gallery | Trailer
‘Nandalala’ revolves around two central characters – one who seeks his mother and the other who detests his mother. Destiny binds them together as they traverse through several localities reach their respective destinations, believing in the myth that ‘Success is a journey, not a destination’. The journey by Bhaskar and Akhilesh is not so much about where they might end up but about what they encounter and what they learn.
Despite their hopes that the journey would change their lives for the better, it transforms them. Have this: of a man from a mental asylum and a schoolboy walk around without knowing the harshness and striking realities of the outside world around them. Though they are battered and bruised, they get transformed. Their combined innocence and limitless affection changes others too. They make friends and emerge better than they were earlier.
Kudos to the cinematographer Mahesh for putting in tremendous hard-work to catch some amazing visual on his camera. In tune with the theme of the film, the stunt sequences too are realistic and doesn’t have any sky-diving hero who defies gravity but resemble a brawl one might witness between normal persons.
Right from the lead characters of Ashwathram, Mysskin and Snigdha, all other characters like the tender coconut seller, Ashwathram’s granny, servant maid, the policeman, the lorry driver and the ice cream seller in the film deserve appreciation of the highest order for the way they have essayed their respective roles.
Dialogues are razor-sharp and to the point and don’t drag around. Sample: to a question by a lady as to which caste he belongs to, Mysskin replies Mental’. This dialogue is just about appropriate for the character played by Mysskin. Thankfully, there are no ear-shattering punch dialogues.
Not often a film gets everything right about it: the cast, the script, the dialogue writer, the director, the music director, the editor, the cinematographer, etc. ‘Nandalaala’, though, is fortunate in the sense that there is literally nothing about the film which can be commented adversely.
Playback singer K.J. Yesudas’ has once again proved that it his voice is capable of melting one’s heart, as it has been doing for over four decades now. Ilayaraja’s voice has the ‘special’ capacity to thaw the hearts of the listeners and he does it yet again.
Watch out for the sequence where Mysskin meets his mother and the lullaby that Ilayaraja sings in the background: it would to bring tears to anybody’s eyes.
‘Nandalala’ is a rare film which shouldn’t be missed by anyone!
