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High-voltage moral drama
REMORSE & REFORM: Prakash Raj turns over a new leaf.
Nanda (TELUGU)
Cast: Prakashraj, Meena, Raghuvaran, Lakshmi
Dir: Senthil Kumar
Music: Bharadwaj
THE FILM is about the transformation of a goon into a law-abiding citizen because of motherly love and affection. The title role of Nanda is brilliantly portrayed by Prakashraj. And equally impressive is the performance of Lakshmi as `amma'. The film has Raghuvaran and Meena, too, in significant roles.
While Prakashraj and Raghuvaran play bad men in a different mould, Lakshmi plays Sarada, who is addressed as `amma' by the inmates of an ashram run by her. How and why she brings this transformation in Nanda is what the film narrates. And it is interestingly presented.
Director Senthil Kumar, who also scripted the story, renders this histrionic delight projecting the underlying principles of love and hatred that dictates human life.
The opening scene, however, does not match the general vein of the theme. When a few government doctors go on a hunger strike with some demands, someone suggests to the Health Minister to employ Nanda, a local goon, to dispel them. Nanda forcibly makes them withdraw the protest — a crude and impossible way of resolving an issue in this democratic world. Instead, he should have made the doctors, who victimised their patients for their selfish gains, see sense.
Thus, the hero is introduced. The crux of the drama lies in the way Sarada reforms Nanda. Meena is introduced as a catalyst to bring about this transformation. She plays Tulasi, who loves Nanda. At one stage, Tulasi spends all her savings and purchases an auto for Nanda. But, he pawns the auto, and spends the money on his drinks and extravagance. At another point, Sarada gets Nanda out of jail. Here, the character of Sarada's husband, a retired Major (Raghuvaran) enters. He employs Nanda to kill Sarada, quietly, as she sent him to jail.
A flashback reveals that the Major is a rapist and murderer. Sarada strives hard to reform Nanda even when Nanda poisons her as per her husband's wishes. By then, Sarada declares Nanda as her successor. She is admitted to hospital — the place which finally transforms the goon. The climax is a high-voltage moral drama, worth watching.
The individual images of the main characters, at times, dominate the theme.
This is more so in the case of Prakashraj and Raghuvaran. Bharadwaj's music score is limited more to theme songs, because of its offbeat content. Meena is kept a bit subdued.
GUDIPOODI SRIHARI
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