A comatose patient sends a wave of commotion through a lax hospital by showing an unexpected sign of life. The news breaks through every channel ranging from Sun TV to BBC while providing to a certain disconnected social circle, the opportunity to reunite. We're back to the 80's and Naanga takes us sequentially through the life trajectories of the characters of the aforementioned social circle.
First there's the aspiring Chandru, a die-hard fan of Ilaiyaraja torn between the dream of making it as a world renowned musician and the secure government-employee path laid out by his father. Then there's Basha, a romantic who gets dragged into law enforcement while trying to win the heart of the daughter of a police inspector. Next we're introduced to the voyeur Babu, sneakily observing the voluptuous body of a bathing woman through a pipe. Circumstances place him in the shoes of an andrologist. Mani, a leader by nature with a rebellious history in college emerges as a district collector. Finally, there's Daya, a devout lover whose devotion has landed him in prison. The women here stick to being the sole objectives of the male characters.
Providing characters with various backgrounds is a good thing; but to tie each of them to a love story? The fate of every character is determined by whether he becomes a victim of unrequited love, or not. The hero-heroine love story is a primary ingredient of the Kollywood recipe. Adding four more makes the dish simply distasteful. Even worse, the plot itself wraps up with the bonding of lovers.
Naanga moves without any pattern between the past and the present. However, the look of the film has all the right details- the appearances of the characters, the clothes they wear and the surrounding sets. They serve as effective guidelines putting subtitled dates, out of use. The music is all right. Filmmaker Selva's intentions are honest and fairly ambitious. Naanga speaks of his experience just as it speaks of his limited exposure to cinema. Like every other product of Kollywood, Naanga lacks finesse and realism making it an honest failure.
Critic: Rohit Ramachandran
(2 / 5) : Average