Nerkonda Paarvai Movie Review
Ajith Kumar ,Shraddha Srinath ,Vidya Balan ,Andrea,Abhirami Venkatachalam ,Arjun Chidambaram,Adhik Ravic handran ,Ashwin Rao,Sujith Shankar,Rangaraj Pandey,Delhi Ganesh ,Jeya Prakash ,D. Ramachandran ,Dinesh P Nair ,Kodhanda Raman ,Kalpana Sri ,Kumara Gurubharan ,Mai. Pa. Narayanan ,KK Menon ,
Directer – H. Vinoth ,Producer – Boney Kapoor,Music – Yuvan Shankar Raja, Cinematography – Nirav Shah ,Editer – Gokul Chandran , PRO – Suresh Chandra and Rekha D’One. etc.
Even though the film influenced Bollywood movie “Pink” was released in 2016, “Nerkonda Paarvai” refined acc ording to the Tamil audience, an aggregate hero Ajith’s scintillating dialogue towards women, which was the m ost sensitive issues approach in positive angle.The script touches the women’s liberation. The independent girls Meera, Famila and Andrea, who lives in a house for their survival. The forward-looking ladies join in a party and enjoys with the guys. Among the three ladies Meera Krishnan (Shraddha Srinath), who was unexpectedly attack ed a guy and the young aggressive man started to get bleeding.
The second half compressed with full fledged of courtroom scenes. Bharath Subramanian’s argument for wom en’s rights made the harmony of irrefutable feelings in some extensions. The film holds on delicate points it do esn’t mean that women’s protection, safety, struggling or virginity. “No” makes a valuable sentences, which me ans even a prostitution says “No” shouldn’t force her.Anyway, society had been out of cultures in that perspec tive the content has been travelling. The director H Vinoth poised eccentrics according to the master copy, Ajith Kumar doesn’t hold any heroism on screen, the dialogues is being related to the society, how the women had be en portrayed, Vidya Balan and Ajith’s disease are exaggerated.sensitive issue converts into positive approach.
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The success of Nerkonda Paarvai is its unwavering focus on the issue at hand—“No means no”. While creating its characters, it shows us only as much as is relevant to the narrative (except for Ajith, but I’ll come to that later). It doesn’t waste time on inane flashbacks to establish their humanity. It doesn’t have long moral conversations to justify their actions. Even the few conversations between them reveal more about the world around than the wo men themselves. For instance, Famitha (Abirami) rushes to her lover Zakir (Matthew Varghese) for support. He, however, blames her, albeit in a roundabout way. When she tells him that he’s being unempathetic, he says, “I can either be truthful or liberal”. Hardly ever do mainstream Tamil films present liberal hypocrisies so straight to your face.In another scene,
Meera is sitting forlornly in front of a mirror when her superior comes and asks, “you performed so well on stage, what happened to you after?” Could there possibly have been a better way to show how often women suck it up and perform their duties, irrespective of the violence they endure? Andrea has an excellent scene too. She is at a café with a friend who tells her that she’s ‘brave’. Almost immediately, she receives a threatening message. As if on reflex, this ‘brave’ woman runs for her life. Scene after scene, Nerkonda Paarvai focuses exclusively on the ev eryday realities of these women, without shying away from showing us the everyday cruelties of the men and women around them.In Nerkonda Paarvai, it is you who are on trial — your prejudices, your hypocrisies and your misogyny.
This truly amplifies in the second half. Turning completely into a courtroom drama, the film plays out in front of our eyes through the testimonies of various witnesses. Rangaraj Pandey, in the role of public prosecutor Sath ya moorthy, adequately irritates as the embodiment of patriarchy. Any women who has engaged in any conversati on around rape and sexual assault would have met a Sathyamoorthy at some point. Bharath (Ajith) takes them on, sometimes with hard evidence, sometimes with scathing sarcasm, at other times delightfully combining both. Yet, for much of Ajith’s time on screen, we feel like we are in a completely different film — his Hulk-type episodes in the park and his struggle to pop his pills are jarring.
There is a fight scene that feels like it will never end—thank god the degree of separation between the hero and villain was two, I found myself sighing.The backstory with Vidya Balan, who is first lighting lamps, then getting pregnant and eventually dead, does nothing to the film at all. And why was Bharat creepily staring at Meera in the first place?Yet, I found myself disapproving less and less as the film progressed. For the Tamil film industry that still tells the woman how to dress and what to say, Nerkonda Paarvai is no less than a revolutionary film. That it is a star vehicle with Ajith giving the might of his stardom to a film like this is indeed appreciable.
Without Ajith, or a star like him, this Tamil film would hardly have got the visibility or support it got. To have that, if the compromise I have to make is to watch Ajith beat up some men in a garage.The judge represents the genu ine intent and assumed benevolence of the legal system. Even as Sathyamoorthy repeatedly alleges that women take advantage of this lenience, the judge stays unmoved or disinclined to offer an explanation. It is almost as if the judge is saying, “asked and answered”. Delhi Ganesh as Meera’s father has very little dialogue but his role sa ys a lot about the helplessness of the common man.
This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only
Written By- T.H.PRASAD -B4U-Ratting-4/5