Begins with a bang but ... Nee Vaenunda Chellam
NARRATION COULD HAVE BEEN BETTER: Nee Vaenunda Chellam.
Nee Vaenunda Chellam
Genre: Romance
Director: L. Venkatesan
Cast: Ramesh, Gazala, Namitha
Storyline: An old man's devious mind finds innumerable ways to avenge the hero's confrontation with him.
Bottomline: Well begun remains only half done!
What begins as an intelligent approach to narration and characterisation, and races towards the halfway mark, fizzles into humdrum in the second session, in AP Film Garden's `Nee Vaenunda Chellam.'
The surprise packet is Thilakan, the man who returns to Tamil cinema after a long period in hibernation. As the father of the heroine, who uses his astuteness to wreak revenge on those who cross his path he excels. Director L. Venkatesan deserves to be lauded for conceiving a character that suits the milieu.
Kannan (Ramesh) happens to see his friend's neighbour Geetha (Gazala), Viswanathan's (Thilakan) daughter, and is attracted to her. Viswanathan is still smarting from the humiliation he received at the hands of Kannan, at a restaurant some time ago. So when Kannan sends a love note to his daughter Geetha, the villainous Viswanathan intercepts it and diverts it to the notorious don's fiancée, Anjali (Namitha). And that stirs up a hornet's nest.
Points noted
In `Jery' Ramesh got away with his slightly alien accent and comic portrayal. But in a serious role these things matter. So it's time the hero begins to hone his skills further in the acting department and work on his diction too. Otherwise his agility in stunts and dance in `Nee Vaenunda Chellam' are quite impressive. Namitha gets her expressions right. Her eyes are a major plus but how many will notice them is a big question! (The rest of her may not allow them to!) Gazala the heroine, who often vanishes from the Tamil scene, is back again looking beautiful.
Vivek's comedy track initially evokes laughter (his costume and colours as Renigunta Reddy add to the humour) but later when he turns a beggar, it becomes too much of a good thing! At the temple, how come he fails to recognise Thilakan, whom he had met earlier? Thilakan's eyes clearly convey the Machiavellian nature of his role — an example of apt casting. Duets and dances thrust between important segments hamper the tempo. And Ramesh's dreary and clichéd exposition in the climax, on the subject of true love, is a little too tough to take.
At least a couple of Dhina's songs have a heard-before feel and re-recording turns frenzied in certain sequences.
Venkatesan's story is strong and dialogue is effective, but sadly screenplay maintains momentum only till the intermission.
MALATHI RANGARAJAN
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