Enai Noki Paayum Thota Movie Review
Dhanush ,Megha Akash ,Sasikumar ,Senthil Veerasamy ,Sunaina ,Vela Ramamoorthy,Rana Daggubati in a guest appearance.
Directer – Gautham Menon,Producer -Ishari K. Ganesh,Gautham Menon,Venkat Somasundaram,Reshma Ghatala Writter – Gautham Menon,Music – Darbuka Siva,Cinematography-Jomon T. John,Manoj Paramahamsa S.R. Kathi r,Production ,company ,Ondraga Entertainment ,Vels Film International ,Distributed by Vels Film International.
And his latest movie, Enai Noki Paayum Thota (The Bullet that is Headed Towards Me) has Dhanush playing Raghu, a college student, who falls in love at first sight (is there any such thing today, was it there ever?) with a film actress, Lekha (Megha Akash), when her unit uses his campus for a shoot. When her glance meets his, he is delirious (not with fever) but joy, and bursts into a song and dance. This happens in the first few minutes of the movie’s long run time.. (Will editors ever get a chance in Tamil cinema?) Lekha is a reluctant actress, and has been forced to don the greasepaint by her overbearing, brutish guardian.
With no family to call her own, she succumbs to the guardian’s – a producer in fact – pressure tactics and emotional blackmail, which soon lead to violence and vendetta with Raghu’s parents being threatened to ensure that he and Lekha are separated.Into this already messy writing, Menon weaves in a brother, Raghu’s. Thiru runs away from home when he is just 18, unable to cope with the loss of his girlfriend, who dies riding pillion with him. This is not all. We are introduced to gangsters and roguish police officers in Mumbai, and Lekha’s producer-guardian is hand-in-glove with them seeking and getting their help in making sure that his heroine does not fly away to build her nest with Raghu in his Tamil Nadu town of Pollachi.
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The major problem I had with this movie was the contrast between the pacing and the tone. Just like a Varanam Ayiram or Ennai Arindhal, here also Menon is trying to give us a full picture of the journey of this character named Raghu. But while a movie like Varanam Ayiram took enough time to register each phase into our minds, ENPT is skipping through everything in a hurry. And Menon slows down at the unlikeliest of places in the script; the placement of the Maruvarthai song for example. It has that visual impact due to its semi symbolic presentation and gorgeous music and lyrics. But it happens at a point in the movie where we are less concerned about this love story. I think Menon himself found out how over the top some of his story elements were and included comparisons with other movies in Raghu’s voice over. When details about Raghu’s brother played by Sasikumar got revealed, I kind of felt a huge disappointment and it was almost similar to what I felt when I saw a Simbu with a beard in the climax of Acham Enbathu Madamaiyada.
After a long time, there’s a genuine, all-out romance on screen. I mean, yes, last week we got Adithya Varma but that, of course, was in a completely different zone. Enai Nokki Paayum Thota is about a girl and a boy and all the delicate shades in their relationship that slowly transforms from friendship to full-on love. The usual way to shoot a girl on a swing is to show her throwing her head back and laughing, imagine (just) her feet suddenly appearing in the frame, propelled by a swing that remains blocked by a wall! That’s the kind of delicacy I’m talking about. We use the word “bloom” while talking about this genre: we say “a romance bloomed between them”. That’s the sense Gautham Vasudev Menon imbues this relationship with, the sense of something blossoming petal by fragrant petal. Gautham Vasudev Menon always has this trademark voice-over by the hero in almost all his movies. And as a viewer, I haven’t had much of an issue with it (Well a part of me always felt it could have been a little less). But his long-awaited release Enai Noki Paayum Thota is one movie where I felt the voice over as an annoying movie prop. With a hurried narrative that doesn’t have clarity on whether to be a love story or an action thriller, Enai Noki Paayum Thota is one character journey where nothing exciting was happening.
Our hero Raghu is actually narrating the story as a flashback. He was involved in a relationship with an actress named Lekha when he was studying in college. But her guardian Kuberan created issues in the relationship and cut to the present our hero is in Mumbai to find her and is in somewhat a dangerous situation. The relationship between Raghu and Lekha and the Mumbai connection of the love story is the content of the movie Enai Noki Paayum Thota.When it comes to the making I felt that Gautham Menon is very interested in staying really close to characters. And even though the script is clumsy I sort of enjoyed the way he etches out characters. He is confident enough to just show Dhanush’s face (Kudos to the actor as well) for almost a minute or two in a heartbreaking moment in the story. But where Menon fails is in giving a totality to the story he has created. The second half of the movie was a mess according to me.
The script is going from being some sort of a gang war to a bloodshed love story. The hero is going through near-death situations multiple times and too many sequences are there that are just prolonging a climax that won’t excite you anyway. Jomon T John, Manoj Paramahamsa, and SR Kathir have shot this film and visually the movie looks nice. I really didn’t like the way that first fight was edited; the darkness already made it difficult to understand and plus those fast cuts ruin the intended adrenalin rush. Darbuka Shiva and his songs are magical and there is a good chance of people calling this movie as a good one just because of the vibe each song created on screen. This puts a huge strain on the second half, when Dhanush gets into “beast mode”. I found my interest levels slipping even when Raghu and Megha were on screen.
I wanted more of the person Sasikumar is and not just the professional he is. But even with its problems, this is still a massive improvement over Achcham Yenbadhu Madamaiyada. Enai Nokki Paayum Thota is beautifully directed (does any other filmmaker use eyelines as well as Gautham Menon does?), and the pauses and holds contribute greatly to the mood. And, after what seems like ages, it’s just nice to see a classy urban film on the big screen. And yeah, it’s nice that, after his stint in the wilderness, this filmmaker is back, too.Take this other voiceover, about his brother: “Enga hero anna dhaan.” It pays off, later, in the heroic entry the Sasikumar character gets. This is the kind of “introduction scene” a film would usually reserve for its leading man. (The brother also gets the “death of a lover” angle, which this director’s leading men usually get.) Maybe that’s why I felt the film could have used less of a star, a leading man who’s less of a… hero. But then, actors like Dhanush give so much.
This is a more delicate kind of acting than what Dhanush did in Asuran, because Gautham Menon flattens even the high moments — there aren’t many showy scenes. And when a huge tragedy is underplayed, you see what a great actor can still do. The camera (credited to Jomon T John, Manoj Paramahamsa, SR Kathir) stays on Raghu’s face, and Dhanush takes us right into the mind of a man who is in disbelief, someone who is still processing this turn of events that has come about after a brief burst of happiness. He takes a long time to come to grips with the situation and the director gives him that long time. He executes a small character arc in this stretch.
From the lyrical title, Enai Nokki Paayum Thota has many of the GVM-isms you expect. We get the Mech. Engg. name drop. We get the loving parents. We get a cheeky nod to a detective film this director was supposed to do with Ajith. But most of all, we get the voiceovers that — perhaps for the first time — feel not just like inner thoughts, but also contain fragments of information that make us anticipate things. And — perhaps for the first time –these voiceovers have a reason for being. Both halves of the film begin with Raghu in a near-death situation (“innikki saaga mood illa, manasilla”) and his life is flashing before his eyes — so the voiceovers seem like he is actually remembering things, like he is telling us about the life that is flashing before his eyes.
Enai Nokki Paayum Thotta is a bland attempt at mixing a love story and an action drama. It almost felt like Gautham Menon is rehashing his own movies in a different way, making no efforts to reinvent his own craft. The director in him still has the fire, but he should seriously consider investing more in the writing space. They first meet when she is shooting for a silly period film. Lekha (Megha Akash) is over-made up. She’s wearing a flapper dress from the 1920s, America’s Jazz Age. And yet, there’s something about her, and that something hooks Raghu (Dhanush; his face isn’t young enough to play a college student anymore, but his genetic lottery, his apparent agelessness, ensures that we buy him almost totally). There’s a charming tentativeness, here. He raises a hand as if to wave, but stops midway. There are a lot of (the expected) voiceovers in this film, but at this point, there’s no “explanation” for Raghu’s hesitation. It adds a nice dash of mystery to the man.
Dhanush is extremely good at being Raghu. In the Mumbai scenes, he is in that extremely vulnerable and frantic space and in the other portions, he is that furious Raghu. Gautham Menon heroes always have that sensitive element and even though the character here is this guy who can punch four people in 10 seconds, there is that sensitivity in Dhanush’s performance. Megha Akash has this amazingly cute face which makes her a suitable choice in terms of looks. The character demanded a certain level of childlike innocence and her face had it. But sadly her performance wasn’t that appealing. Sasikumar is there as Raghu’s elder brother Thiru and to be honest he wasn’t making any great impact on the movie considering how the movie projected the character. Senthil Veerasamy was a fine as the antagonist.
This is a screenplay in which the i’s have been dotted and the t’s have been crossed with care. And with class. The bit where Raghu learns about Lekha’s past could have been turned into an audience-pleasing “sad moment”, but it’s tossed off like some information you’d chat about in a party. The first embrace — a superbly staged scene — comes about not just because of Raghu and Lekha’s mutual attraction, but also because of an external threat that hovers around her. Raghu doesn’t just make Lekha feel loved. He makes her feel safe.As in Geetu Mohandas’s Moothon, the story flips between two timelines and two genre sensibilities — the grimy present, in neon-drenched noir colours, and the happier past. The first half is a romance punctuated by action-thriller rhythms, and post interval, we get an action-thriller punctuated by romance. And there’s always a little hook that keeps you invested. For instance, how does Lekha get involved with Raghu’s brother (M Sasikumar, having a lot of fun in this universe far-removed from the one in his films)? Or, what does this brother do?
Lekha vanishes for a while, and even her return involves an external threat — this love story is always staring into the wrong end of a loaded gun. I wished Lekha had been played by a more experienced actor. Megha Akash certainly looks the part (and it’s fantastic that her name appears in a font that’s equal in size to Dhanush’s; her role is equally important) — but her odd-sounding dialogue delivery robs the character of some of the intensity it needs. But maybe a more experienced actor wouldn’t have captured Lekha’s helplessness so well. Maybe she wouldn’t have made you (or Raghu) want to throw your arms around her and protect her — like in the amazing Maru vaarthai song sequence. It’s a lullaby that appears at just the right place, and the pounding percussion resembles amplified heartbeats. How much Thamarai brings to this director’s work! This lullaby is also a little love story. Hearing the phrases “vidiyaadha kaalaigal” or “mudiyaadha maalaigal“, I imagined the many mornings and evenings a puzzled Raghu grappled with Lekha’s absence.
In fact, all through the film, Gautham Menon gives the moments a lot of time — nothing feels rushed. Even a “you’ve got to be kidding me” contrivance about a laptop comes about after we have spent a lot of time in the vicinity of that laptop. But after the specificity of the first half, the action-thriller portions are disappointingly generic. I wondered why the emotional beats weren’t hit harder — especially Raghu’s scenes with his brother. (I had the same reaction to Moothon. The romance is great; I wished the gritty stuff around it had been better.) None of the villains are memorable. They don’t have the definition Raghu and Megha have — heck, even Raghu’s parents, in their few brief scenes, seem more rounded than these interchangeable bad guys with their interchangeable badnesses.
This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only
Written By- T.H.PRASAD -B4U-Ratting-3 /5