Fantasy works
Nandanam
Starring: Prithviraj, Aravindan, Sudheesh, Sai Kumar, Siddique, Navya Nair, Kaviyoor Ponnamma, Revathi
Lyrics: Girish Puthenchery
Music: Ravindran
Editing: Ranjan Abraham
Cinematography: Azhagappan
Script, direction: Renjith
Rafa Video
They say, it is easiest to write a story in the first person. And the worst crime in film-making, they add, is to resort to monologue and soliloquy to push ahead its narrative. Nandanam does that unpardonable but redeems all its faults in a beautifully scripted second half.
Nandanam transcends genres in popular film-making in that latter half, when fantasy meets reality to conjure up a bewitchingly surreal experience. And it is precisely these moments that make Nandanam not another Ilakkangal.
For the film that brought Malayalam film back to its feet, Nandanam is surprisingly flabby. It has pathetic and out-of-place humour. Its narrative is forced in the first half, and the characters are little more than caricatures.
But the story also has a fairly-tale goodness, and builds that simplistic association you sub-consciously make to the underdog — here, a maid-servant, who is enduring all the suffering of a lifetime.
As in all fairytales, in comes the prince and sweeps her along in a torrent of affection and passion. In Nandanam, it is Manu (Prithviraj), who comes as hope personified into the life of Balamani (Navya Nair).
Manu is visiting his grandmother (Kaviyoor Ponnamma) before going to the US for higher studies and a job. Manu's mother (Revathi) drops a bombshell in his life: Marry a US girl. A deep maternal affection prevents Manu from disclosing his love for Balamani, and he meekly agrees. Balamani too persuades him to forget their romance.
She is shattered though and finds comfort in Unnikrishnan (Aravindan), their neighbour. From here on, only to be later revealed, it is mind-game time for Balamani, and how Renjith crafts the scenes! He finds a perfect actor in Aravindan, who, for a fault, reminds you of Nitish Bhardwaj (Njan Gandarvan).
Nandanam's biggest draw is its music. Ravindran's scores grow on you and give the film a rich feel. Azhagappan's cinematography captures the mood of the film.
Navya Nair does justice to Balamani, and she benefits from a well-etched character. Prithviraj is adequate. Revathi and Kaviyoor Ponnamma live their roles while Jagathi, Kalabhavan Mani and Jagadish are forced additions. Innocent is a natural.
Renjith makes a mark in many counts: His dialogues, especially those portraying the affection Manu and his mother share, are touchingly under-said. He also creates real-life situations — the pre-marriage chaos for one.
Nandanam's failings are pardonable because the end-result, indeed, justify the means. Don't miss this one.
