‘Naandhi’ Review: Reality With Cinematic Liberties | greatandhra.com

Movie: Naandhi Rating: 2.5/5 Banner: Entertainment Svz Cast: Allari Naresh, Varalaxmi Sarathkumar, Priyadarshi, Harish Uthaman, Praveen, Navami, Srikanth Aiyyengar, Devi prasad and others music: sri charan pakala dialogue: abburi ravi cinematography: sid editor: chota k prasad action: venkat art: brahma kadali producer: satish vegesna writing & directing: vijay kanakamedala release date: February 19, 2021

Looking for a new image and stepping out of his comfort zone of playing comedy characters, allari naresh has made a film with a serious theme, naandhi.

The film has generated quite a stir with its trailers. Naresh in the interviews of him said that he has worked hard for this film.

Let’s see if your efforts have paid off or not.

story: surya prakash (allari naresh) is a middle-class young man. he gets a job in a software company, his wedding is arranged with a meenakshi (navami) girl he likes.

On the same day, he booked a flat and, driving home with his fiancée, the police arrested him on a murder case. ACP Kishore (Harish Uthaman) implicates him in the murder of a Rajagopal social activist.

surya prakash pleads not guilty, but the case drags on for years and he is serving a prison sentence for almost five years.

Five years later, Aadya Mullapudi (Varalakshmi Sarath Kumar) takes up his case for bail. Will she prove her innocence? and why does kishore imply it?

Performances of the artists: allari naresh has given a superlative performance. it is an intense portrait. After playing comedy roles for many years, she showed the other side of her acting in “maharshi”. “naandhi” is a new beginning for naresh.

varalakshmi sarath kumar as a lawyer is also convincing. she steals the show in the second half. this is another meaty role for her after ‘krack’.

harish uthaman as an evil cop is apt. praveen as a friend of naresh and priyadarshi as a youtuber have given their best. vinay varma as the politician is fine.

Technical Excellence: The cameraman has captured the prison sequences and the court scenes well. the background score and music should have been better. it sounded pale and old-fashioned. editing needs sharpness.

highlight: the allari naresh performance concept

Disadvantage: the judicial processes have an uneven rhythm, some scenes defy logic

analysis “naandhi” starts the story straight to the point. the message it conveys is loud and clear: dozens of juveniles languish in prison for years without conclusive sentences.

also emphasizes how innocent people are drawn into cases due to the nexus between some corrupt cops and bad politicians.

“naandhi” is part legal drama, part police procedural. new director vijay kanakamedala has brought up an interesting legal point: section 211 of the indian penal code which allows the law to take action against police officers or institutions that make false criminal charges.

The director has narrated honestly but with the necessary grip. These kinds of movies need to work with nail-biting tension. but that did not happen because of the comfortable cinematographic liberties and planted scenarios.

The first half of the film focuses on the prison sequences and shows Naresh falling victim to the brutal police force. The second half deals with the victorious side of her, her fight against the system with the help of a lawyer played by Varalakshmi Sarath Kumar.

no problem with these parts. the problem is with the judicial procedures. many scenes are far from reality and logic. while we can appreciate your sincere efforts, it should also be noted that the court sequences are overly simplistic and also convenient. the movie fails here.

the rhythm is not exactly even, there are many times that the film loses control. the new director has presented the serious theme as an accessible watch for the common public. sometimes, it also becomes documentary. the background score would have lifted my spirits many times over.

This kind of movies work well on ott platforms. we have to see how this can work in theaters.

conclusion: honest content but without narrative control