‘Nerkonda Paarvai lives up to the original ‘Pink’

By Mythily Ramachandran

‘No’ means ‘No’-exactly that. This single word does not require more explanation, says lawyer Bharath Subramaniam (Ajith) in Tamil film, ‘Nerkonda Paarvai,’ the official remake of Hindi film, ‘Pink.’
‘It does not matter who it is-she could be your girl-friend, lover or wife, but when she says No, you got to stop,’ emphasizes the lawyer with a shock of white hair.

Directed by H. Vinoth, this social drama rings loud the message of consent, a relatively new word in Indian society that rides on the saddle of male chauvinism and has been taking women for granted.

Director H. Vinoth on the sets with Ajith

 
‘Nerkonda Paarvai’ speaks out for women with this small word that gives her the power to protect herself and to be in her space with a choice. And, when a mass hero like Ajith with a large fan following delivers this message, it surely helps.

Vinoth’s script is well written, retaining entirely the soul of the original and brilliantly executed by a team that scores high on performances. Poignant moments leave you misty eyed; -a father watching his daughter’s personal life laid thread bare as she fights in court, friends holding hands together despite knowing that they stand little chance in a world dominated by men and clout and an aging lawyer’s fight for justice.

                         Andrea, Abhirami and Shraddha Srinath 

‘Nerkonda Paarvai’ is a faithful remake of ‘Pink’ with small changes. While ‘Pink’ opened with an accident that left a young man bleeding severely, ‘Nerkonda Paarvai’ begins with a rock concert. The protagonist Meera Krishnan (Shraddha Srinath) is one of the dancers and after the evening is over, she and her two friends, Famitha Banu (Abhirami Venkatachalam) and Andrea (Andrea Tariang) join a group of young men for dinner. Over a few drinks, trouble brews turning over the lives of the three young women. And, the three ordinary working women find themselves charged with prostitution and murder. They become targets of a bruised male ego and brought into court by the men who have political clout.

‘Nerkonda Paarvai’ rests on the collective gaze of Indian society where a woman is judged always. And, that rules are different for men and women is laid open in a court room.

‘Nerkonda Paarvai’ takes the story of ‘Pink’ a notch higher. 

Ajith as an aged lawyer with a bi-polar disorder- shines in a role that is completely different from earlier films. His acting is subdued and he does not deliver the regular punch lines. However, the makers could not resist the temptation to show his mass image. And, that brings us to the scene where he single-handedly bashes up dozen men. But this  interruption does not steer the story away from its track. While Bharath’s past with his wife (Vidya Balan) brought in relief from the tension of court room drama, it got a bit too stretched with a song sequence.

Shraddha Srinath tackles a wide gamut of emotions as Meera Krishnan. She is Meera in every frame exposing the vulnerability and helplessness of a woman wronged. Srinath is terrific and her scenes are intense leaving you misty eyed.

Abhirami Venkatachalam is Famitha, the mature one in the group. She carries a look of concern and anxiety all the time. Venkatachalam stuns you in the court-room, when her Famitha eventually caves in to the verbal torment of the opposing lawyer. That was another unforgettable scene. Andrea reprising her role from ‘Pink’ is wonderful. 

Surprising everyone on debut is Rangaraj Pandey. He plays Satyamoorthy, the opposing lawyer with a smug look on his face and a cocky grin surfacing now and then. Arjun Chidambaram effectively brought out male chauvinism as Adhik Ravichandran, the man who refused to understand Meera Krishnan’s  ‘No.’

‘Nerkonda Paarvai’ is also about friends bonding together, about right winning over wrong and about empathy for our loved ones.
Even if you have watched ‘Pink’ this remake is still worth a watch.

 ‘Vedalam’ with it’s larger than life character of the star clearly woos Ajith’s fans

If you can leave your brains behind, maybe you could sit through this masala entertainer that lacks logic

Ganesh (Ajith) and his sister Tamizh (Lakshmi Menon) arrive in Kolkata where Tamizh enrolls for a course in a college of design. As expected she is a talented girl and the brother-sister share a great bond. Ganesh also takes up work as a taxi driver. And he is the sweet guy with a charming smile, until he turns informer for the police who are trying to nab a much dreaded criminal and his gang.
When Ganesh is caught by the gang from a timid man praying for his life, he transforms himself into a ruthless killer, who kills the two brothers of the gang leader Rahul.
So who is actually Ganesh? The story unravels as Ganesh shares his past with Shwetha, (Shruthi Haasan) and whose brother is engaged to Tamizh.
The script is weak, there is no logic as to why the story begins in Italy where an upright police officer is killed by Rahul.
Shruthi Haasan plays a lawyer who has never won a case and with two juniors under her. Shruthi looks gorgeous and hot but she needs to work on her expressions. Her character is poorly sketched. Soori is supposed to tickle the funny bones with his wisecracks but all his jokes fall flat. What is funny about saying ‘Awesome’ as ‘Aweshome’ or ‘public’ as ‘bublic.’
The police become the butt of ridicule as Ganesh is paid by two constables to beat up a crowd of goons who have entered the police station. How believable is  this?

Even his scenes with Shruthi Haasan where they plot against Ganesh are annoying instead of evoking chuckles. Well if you are an Ajith fan, rest assured this film is just for you. With song sequences at the drop of a hat, as Ajith shakes his legs and action scenes where his one man army does everything to bring the villains down. And of course he emerges unscathed.
Lakshmi Menon’s role was definitely drawn better as Ganesh’s sister who brings a change in heart of a rowdy.
Director Siva seems to have added every masala that came to his mind. While the song, 'Adama.....' is one song that lingers for a while, the background score is so jarring that very often the dialogues get lost in its music.
This one is not meant for the family with killings running wild and enough gore.