Imaikka Nodigal is an example of effective colour palette, Cinematographer RD Rajashekhar sets the mood right with striking visuals especially with Anurag Kashyap’s part – the frames literally drool over the antagonists’ thoughts in a dreadful yet opulent manner. In terms of visual setup, the first counter of Nayanthara-Anurag spikes interest and curiosity when the character’s individual colour palettes turn blue; here, a colour which practically stands for slowing human metabolism and producing a calming effect produces a stark contrasting effect in-sync with the thrill.
Even though Imaikka Nodigal is an exhilarating and riveting thriller, it seeks the roots from A. R. Murugadoss whom Ajay Gnanamuthu once assisted. This might put you off, but the tone and texture of the film is much similar to Murugadoss’ last thriller Spyder (2017) – the setup, the generic intervention of romantic track, psychotic killer and a solid play of hero vs. villain; even S J Suryah’s deadly psycho act is kind-of picked up by Anurag Kashyap (shadow?). Nevertheless, Gnanamuthu brings his own elements by framing a character arc to the protagonist as well as the antagonist consisting of spicy chase and adequate backstories. Imaikka Nodigal has a contemporary and brisk atmosphere unlike Spyder, which dwelt into the ragged reigns.
CBI Officer Anjali Vikramadityan (Nayanthara) is on the hunt of Rudra (Anurag Kashyap), a psychotic killer is on a killing spree. With an unnecessary romantic side track (links to main plot much later) featuring dead face-juvenile Atharvaa and ofcourse not a beauty Rashi Khanna which distracts the film’s definite narrative. And the romantic track, it’s too generic – how many times the usual done to death boy-meets-girl setup has to be experienced or tortured with? With a revamped part similar to Kamal Haasan’s Manmadan Ambu (2010), the “possessiveness” of the writing doesn’t wear off until the romantic snooze fest is dead. Post, the director retaliates rewarding us with a riveting edge-of-the-seat and eye sight thriller; the name suggests too, blink-less seconds.
R. Ajay Gnanamuthu’s Imaikka Nodigal hits the bulls eye with effective direction and an exhilarating screenplay (fairly), he immediately sets the intense mood for an engaging thriller and offers more than just engagement. There’s a flamboyant play of colours which I found more constructive and supportive to a dreadful play of what the antagonist terms, lion vs. hyena. There’s a fresh approach in-sync with colour yellow which suggests conflicting association, loyalty as well as freshness. In simple words, Imaikka Nodigal can be termed in association of these three words – loyal to genre, fresh in approach and conflicting due to its distracting bit of narrative.
Shouldered by Nayanthara, who delivers a bold and graceful performance. She’s a composed and an impressive actress who’s screen presence is heroic and effectively hitting even without cheesy elements. Bollywood, a place where there’s a gaga over feministic films – here’s Nayanthara, who’s lately featuring in such films and co-incidentally known as “Queen” of Kollywood, without a hullabaloo and winning it. In Imaikka Nodigal, the subtle feminism is inserted as a character element and kept intact with the narrative.
Nawazuddin Siddiqui, who played a psychotic killer in Anurag Kashyap’s directorial Raman Raghav 2.0 (2016) will be proud witnessing the menacing groove. At complete ease in his Tamil debut, Kashyap impresses with a deadly act who soon might be kidnapped by the Tamil Film Industry. Vijay Sethupathi in a cameo steals the show, as expected.
There’s a literal identity face-off between three characters – if you happen to face Imaikka Nodigal, you’ll be served an engaging dish, that’ll much time to arrive on the table and if not tasteful, you’ll still be satisfied with its embellishment.
Release: 30 August, 2018
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