Spoilers ahead…
It’s probably easier for a drama to handle an exotic medical condition. Moondram Pirai was about a woman with amnesia. Sethu told the story of a man who was, for all practical purposes, an amnesiac. The loss of memory, in these movies, was a vital part of the plot. Action films, on the other hand, are torn between the contradictory impulses of sticking to the details of the condition and having to showcase the protagonist’s heroism, which cannot be whittled away by a mere “defect” – and the emphasis invariably tilts towards the latter. Anniyan walked this tightrope fairly well. But in other films – Maattraan with its conjoined twins, Thaandavam with its echolocation – the hero could have just as well been “normal,” and things wouldn’t have turned out all that differently. Naan Sigappu Manidhan is an action movie, the usual vigilante vendetta saga, but the way it handles its exotic medical condition is unusual. The hero, Indiran (an effectively understated Vishal), is a narcoleptic, and this aspect is not just a cool marketing gimmick. It has been integrated into the very fibre of the film.
Indiran drops off into a deep sleep whenever he is overcome by extreme emotion. As a boy in school, he falls asleep – literally; one minute, he’s standing in line, and the next, he’s on the ground , crumpled into a heap – when the student behind him sneezes loudly. And as a grown-up, he collapses during every imaginable situation, from crossing the road to celebrating a cricket match on television. This, as you can imagine, is hardly conducive to discharging the duties of a hero. How will he romance the heroine if he’s going to be felled by the smallest surge of emotion? And how will he fight the villains when the fear of facing them – or the adrenalin rush while charging at them – can knock him out?
At least for a while, there are no answers. We keep watching Indiran as he goes about the business of living, his condition always at the forefront. It’s the narcolepsy that engineers his meeting with the heroine, Meera (Lakshmi Menon, who continues to execute interesting variations on the tired old things a love interest is contracted to do). It’s the narcolepsy that nets him a job suited to his unique abilities (or disabilities). When he needs the help of an influential man, it’s the narcolepsy that convinces the man to come to Indiran’s aid. The narcolepsy is worked into a song (Indiran faints, and the backup dancers carry on, as if nothing had happened, and then he wakes up, dusts himself off, and continues dancing) and even the comic scenes, like the one where he meets Meera in a mall. And it’s due to the narcolepsy that the shocking interval twist comes about. He’s asleep. We think he’ll rise and be the hero. He stays asleep.
This is the second time, after Pandiya Naadu, that Vishal has chosen to play a reluctant hero, an almost non-heroic hero, someone who does what he sets out to do but is still left wanting – and the sanguinary title, taken from a Rajinikanth movie, is somewhat deceptive. This isn’t the realm of the feel-good Rajinikanth blockbuster. This is more sombre territory. As in that older film, and another one around the same time that did something really unexpected in the context of a Rajinikanth movie, the hero vanquishes the villain, but at great personal cost. It’s the sort of thing that makes us leave the theatre with a twinge. We’re happy the good guy got the bad guys, and yet… The bittersweet end is quite touching. It involves someone who’s asleep, but this time, it’s not Indiran.
The trend in action movies, these days, is to avoid anything serious in the first half and concentrate, instead, on romance and comedy. Naan Sigappu Manidhan does that too, but here, this is exactly what’s needed to establish just how far from a conventional hero Indiran is. I could have lived without the scene where Meera invites her friends to observe Indiran’s condition. (They behave abominably.) More importantly, the portions where Meera discovers the “cure” for Indiran’s condition aren’t worked out very well, and her subsequent actions – one of them in a swimming pool – feel rushed. We don’t get a sense of the desperation that goads her. But the director, Thiru, displays a lot of control in scenes that could have erupted into melodrama. When Meera, who’s rich, takes Indiran to her home, her father (Jayaprakash) makes his objections known in the classiest possible manner. He makes Indiran realise that this just isn’t a good match. His exasperation with his daughter is equally restrained. Where another father might have locked her up and thrown away the key, he tries to reason with her.
And then we enter the second half, and the film goes haywire. It isn’t unusual for a movie with masala elements to end up ludicrous if you think about it, but the really good masala movies come with a strong core of emotional logic (to counter the general lack of “logical” logic), and when enveloped by this emotion, we don’t have the time to think – we just feel. (And then, it doesn’t look ludicrous at all.) That doesn’t happen here. A crime is committed and Indiran has to dole out punishment, and the way he goes about this isn’t the least bit convincing. The way he connects the dots and pulls together clues, the way he eliminates the red herrings, the way the twists ( a couple too many, for my taste) are presented , the way key conversations are overheard, the way an all-important water source is miraculously made available towards the end – everything feels so… convenient. And the speed-breaker songs keep pulling us out of a narrative that’s already compromised by characters who change dramatically (Meera’s father, suddenly, drops her off at Indiran’s house) or disappear completely (like Indiran’s mother, played by Sharanya Ponvannan, who seems to have made her peace with being this generation’s Kamala Kamesh).
The bigger problem, for me, was that the traumatic incident at interval point just doesn’t seem warranted. It’s too manipulative, too much of a contrivance, especially after what we learn from the long and tiring flashback – though the sexual angle of this development is very much of a piece with the rest of the film. One of the most refreshing aspects of Naan Sigappu Manidhan is its unfussy acknowledgment of sex. Men want it and talk about it, casually. Women want it and talk about it, casually. (We saw this in Kalyana Samayal Saadham too, but that was an upmarket rom-com – this one’s more for the masses.) Meera even accompanies Indiran to a soft-porn screening and watches with amusement when he gets turned on and falls asleep. And men don’t seem to love women any less when they use sex as a bargaining chip. Should these touches be allowed to exonerate the missteps? Probably not. But given the general state of hero-oriented Tamil cinema, where a hollow kind of masculinity is endlessly celebrated, it’s nice to root for a hero who isn’t a slacker but a brilliant student, and who sits down with his pals for a cup of tea, rather than booze, and who gets rejected by a girl his mother sets him up with (just as Meera rejects the man her father sets her up with). For the first time, I find myself interested in whatever Vishal’s doing next.
KEY:
* Naan Sigappu Manithan = I see red
* Moondram Pirai = see here
* Sethu = see here
* Anniyan = see here
* Maattraan = see here
* Thaandavam = see here
* Pandiya Naadu = see here
* water source = see here
* Kamala Kamesh = see here
* Kalyana Samayal Saadham = see here
An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Kiruba
April 12, 2014
“…whatever Vishal’s doing next.”
Even if it happens to be Hari’s Poojai?!
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ThePenn
April 12, 2014
Doesn’t “Naan Sigappu Manithan” mean “I am a red man”?
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Pranesh
April 13, 2014
Nice review. Could’ve been so much better if not for the songs, and the too-many-twists climax. The last 45 mins killed the movie.
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Arvind Srinivasan
April 13, 2014
Everything was fine till the start of the second half. Getting sick of directors trying to chalk out a twist just for the heck of it. It ends up getting all contrived and unconvincing. And to say the twist was unconvincing would be an understatement.So even if the narcolepsy aspect was dealt aesthethically, it was all for nothing. Cause the movie just ran on famiiar territory after what was probably one of the most inept flashbacks that I have seen in a while. Tragedy cause the movie was sort of good till that time.
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brangan
April 13, 2014
ThePenn: Yes, that’s the literal meaning. It sounds odd and I was going for a more figurative one.
Pranesh: Yeah, I’ve never figured out why they have songs in these films.
SPOILERS AHEAD
Take the sad song in the second half. It’s a nice touch to have the heroine in a coma, but the song brings the film to a dead halt. For comparison, take “O Paapa Laali.” A very similar situation. Heroine unwell. Hero sings. But what a difference. The song is so emotional, so fantastic, you hardly care that the picturisation is hardly one of Mani Ratnam’s best — I mean, there’s a bottle of electrode jelly in the frame 🙂
Arvind Srinivasan:
SPOILERS AHEAD
What bugged me most — and I’ve said this in the review — was how disproportionately cruel the act of revenge was. And for a film that did so much so well in the first half, so well thought out, the slackness in the second half was disappointing. I mean, the couple has sex upstairs. He’s downstairs. And he knows everything? WTF!
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Kiruba
April 13, 2014
I should say this is probably the better of the three films from this director actor duo, all of which have interesting premises and are staged pretty effectively for a while only to peter out later.
TVP made me think the crappy hero will be taught a fitting lesson by the heroines, but post-interval, they turned the plot on its head and made it intolerably chauvinistic. The heavily influenced Samar almost lost its plot towards the climax. And this! the unraveling was strictly lazy writing.
Spoilers:
‘how disproportionately cruel the act of revenge was’
seems to me they wanted her to remain for the ‘bittersweet’ ending and so decided to amp up the cruelty. again, on second thoughts, Karnan is probably someone who could want something like this.
‘And he knows everything?’
Could he have guessed it from what they were talking while coming down the stairs?
A small doubt, I think I missed a bit of dialogue. How does Karnan manage to bring Indiran to the construction site in the climax?
And surprisingly for what you term an action movie, it had hardly any action till the climax. 🙂
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Raj Balakrishnan
April 13, 2014
Hi Baradwaj, sorry this is completely off topic. I was wondering whether you had a chance to catch the new Mahabharat on star plus and if yes what are your thoughts. Though the actors ham it up like the old one, I thought that the Draupadi vastraharan was spectacularly staged. Also, Praneet Bhatt as Shakuni makes it more interesting.
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Rudy
April 13, 2014
(advance apology for my poor english)
IMO the second half was filled with so many unintentional humour. Thiru wanted the first half to be fun-filled and the second half to be serious. But I think he failed in the case of latter. The flashback twist completely ruined it. Neverthless, the audience were kept entertained till the end.
As for the sex scene, it’s not that hard to figure out. Maybe Vishal woke up from sleep right when they both left for upstairs and noticed that they both were missing? He could’ve hazarded a guess after realising that they are taking too long to return, you know.
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Arvind Srinivasan
April 13, 2014
SPOILERS ahead
@brangan, Kiruba-
Alright I’ve got the story moving to a point where the hero plots his revenge against the four who gang raped his gal when he was off to his sleepful bliss. No wait. There has to be a reason right…What do I do? Well get a close friend of the hero to be the one responsible for all of this with the four guys being just accessories and make them pay..To think,the friend actually waited for 3 long years doing nothing just for the hero to find a girl and exact his revenge….
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Kutty
April 20, 2014
BR : Well deserved praise for the movie. And to think I did not find the second half problematic like you did. With regards to the the scene before the interval, my two cents is this : When a movie wants to change tones, from a breezy first half to a more grimy action oriented second, the intervening scene has to be loaded in texture more towards what the second half holds. I am not a fan of intervals, but this movie got it right. The high pitch of the scene set up the expectation perfectly for the second half.
SPOILERS
There were some thing which seemed too convenient : her giving away 4500 rs. with no hesitation or him finding a college to pay 50,000 or him finding out about the affair. But the water source in the end was not one of them. I will put it down to intelligent use of the second aspect of his weakness. Disagree with you that the desperation was not evident to prompt what happened in the pool. The heroine at that point not only had to deal with a father in opposition but also her boyfriend not willing to stand up for their romance. Therefore, thought it was well played out.
There are a couple of complaints about there being one twist too many and I concur. But, the writing is good enough that each twist is required to cover up a previous one. For instance, I was left wondering how it was possible that Indiran and Karnan remain such good friends despite Indiran becoming aware of the fraud being perpetrated. And in the scene immediately after, Karnan goes to him confessing that he was in the house, but avoided him for a different reason.
MORE SPOILERS
Arvind : Isn’t that what is called a plot? I mean, you could disagree with execution but to change the plot would be to ask for a totally different movie. That is not quite the director/story writer’s fault, right?
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