Pasakara Nanbargal Review
After decades of cinema, I don't see where director Feroz Khan got the nerve to make Pasakara Nanbargal. It is the most daring film that has come out so far, this year. Daring because it thinks it's groundbreaking.
The lead character, which is too insignificant to be remembered by name, is a student studying on the welfare of an old age home that's already struggling to meet ends. He has a thing for boxing. I don't know what he sees in it, but he wants to become a boxer. Boxing movies have never failed to break even. Who doesn't want to see an underdog rise from nowhere and become a champion? Feroz Khan should've stuck to doing just that but he doesn't have faith in his script. He goes in a hundred different directions before he reaches his desired destination. The question is- Are you willing to travel with him through Pasakara Nanbargal? You won't. I'm not saying taking the shortest route would've resulted in a successful film. No, I'm not saying that at all. The characters are just plain shallow. You can't look into them; you can just look at them. Right from the first word a character utters, you know whether he is a 'good' or 'bad' guy. Our puppy fat stuffed hero (Ajmal Khan) saves drowning friends, beats up sex offenders, saves women from hooligans and helps the elderly. How typical of a Kollywood film.
I suspect that Feroz Khan found the script while moving into a house that hadn't been inhabited since 1990. He read it and made necessary modifications by adding subplots involving a mother and son bonding in the beach, and a man who is keen on flashing his male organ to his submissive maidservant. It's a halfhearted effort to reach out to different kinds of audiences. But disconnected garbage like this won't reach out to anyone. The cinematography is binary; straight shot and slanting shot. Feroz Khan brings nothing new to the table. This rehash of every existing idea in the Kollywood film book is the worst film I've seen since Yudham Sei.
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