I love Sukumar’s Arya 2, I think Mahesh is a very good actor, the story had been talked up and the budget was huge with lots of big sets and fancy locations. Unfortunately 1 Nenokkadine is more like two films thrown together than a cohesive whole – one a complex psychological thriller and one a mass shoot ‘em up blow ‘em up. I can’t avoid one big spoiler although I don’t want to discuss the plot in much detail. But ultimately Sukumar fails to fully capitalise on either the big idea or the big star.
Note: I didn’t get to see this in a cinema as the screen caught fire at the first show and that was that! (No one was hurt.) Since I tried to see this legally but was prevented by an act of god, I wasn’t conflicted about using more dubious means available until the DVD releases.
Anyway. What to believe when the hero is an unreliable narrator? This should have been an interesting conundrum but unfortunately 1 Nenokkadine is full of holes and the direction is clunky.
Gautam (Mahesh) is a rockstar. He is prone to nightmares and constantly on guard against the men who killed his parents and want to finish him off. When Gautam sees one of the men in the audience of his show, he takes off initially in fear but then in pursuit and kills the guy. Gautam turns himself in to the police, clearly disturbed but aware he has done something wrong. He was chased by Sameera, apparently some kind of production staff on the show who is also a journalist and squealy fangirl. She films the fatal encounter and reveals the truth about Gautam – he was hallucinating the whole thing. There was no other man, no fight and no stabbing. Gautam’s backstory finally emerges when he ingeniously tracks down Nasser who says he was a cab driver 20 years ago…And that sends them off to London and the high adrenalin second half of the film. And yet once again, nothing is as it seems.
Mahesh is very good and his dramatic scenes really do have urgency, conveying Gautam’s pain and frustration. The scenes where Gautam is hanging on by a thread, fighting his inner demons, are so well acted but often undermined by the direction. Mahesh can do a lot with silence and minimal histrionics but Sukumar lays on tricky visuals where he could have just let the performance breathe. There is zero chemistry with Kriti Sanon, and their romance was of the desultory insta-love variety, an obligatory element. A hero with integration disorder opens up a lot of possibilities for turning mass film tropes inside out. But there is little logic, and so much bad filmi medicine, that the mental illness almost becomes irrelevant. Gautam is a man who cannot trust anyone and is out for personal revenge. Now he learns he cannot trust himself. How had he functioned for the last 20 odd years if he was prone to such vivid and realistic delusions? Why had no one around him noticed anything odd given he had ‘killed’ before? There was no reason for him to be a rockstar other than as a change of image for Mahesh, so why not have more fun with the new career? And it takes everyone far too long to unravel the screamingly obvious Significant Clue.
Kriti Sanon’s Sameera takes about half the film to find her feet, partly because she is a fairly ordinary actress and partly due to the patchy writing. Sameera lies, confuses Gautam, and finally says she is doing it all to cure him because she loves him. Yeah, whatever. And the idea that if you love someone you have to believe them takes no account of mental illness which by definition means a person may struggle to have awareness or control of their thoughts and resulting actions. I would normally complain about drugging the heroine but I was as ready as Gautam to have a break from her. Luckily one day Sameera recalls she is a journalist and so should be capable of thinking and research. Maybe she found her brain when she swapped handbags. She starts to put together the attacks on her, the men following Gautam, things, and links it back to the underworld don (Kelly Dorjee).
Comedy rears its ugly head as Gulab Singh (Posani Krishna Murali as a London based Sikh taxi driver) is tasked with facilitating Gautam’s revenge logistics. Pradeep Rawat, Kelly Dorjee and Nasser are the main supporting actors and deliver their usual reliable standard of performances.
The songs are an interruption and do nothing for the plot. Kriti Sanon prances about in micro shorts all the time so Aww Tuzo Mogh Kortha wasn’t an excuse for a skinshow, although she did also get some guitar fondling into her repertoire. The English lyrics are horribly cheesy, especially for You’re My Love, and nobody seems to be having fun. But don’t take my word for it.
Mahesh has very similar choreo for every song so that was a bit lacklustre too.
Peter Hein puts all the right elements into the action scenes but repetition and sluggish editing sap the energy. How could a chase involving jet skis, boats, a parasail and hydro jet packs be tedious? There are also some things that are glossed over (e.g escaping from an underwater car) where they either lacked budget or an idea of how to extricate the hero from his impending doom. Sukumar is trying for a psychological edge but replaying a shot of Kelly Dorjee throwing a can into a bin multiple times to show Gautam thinking of using the rubbish as physical evidence is just painful.
The locations are used well, and the film looks beautiful. There are some really nice touches that add style and even humour. Mahesh’s son Gautham appears as young Gautam (those ears! Instantly recognisable).The threat of Indian fans forming a mob is enough to get the police to rethink keeping Gautam in jail, but then everything else functions as though the Belfast police are identical to the Andhra police so what is the point of that cultural in-joke? It’s all very disjointed and seems to have been written by committee. Oh but Nasser’s flashback wig is a doozy. I think it is the poorer cousin of The Wig from Shakti. And for the hardcore Mahesh fans, yes he does a shower scene so you will see naked upper back. The glimpses of princely elbow are now old hat so no need to mention there are approximately 437 of those throughout the film. I think our friend The Mahesh Fan would approve of the brainy specs. Oh you want proof?
In a good psychological thriller once the twist is revealed the story should be enriched, and the viewer should be able to re-interpret scenes with their new knowledge. I think films like The Prestige and even Sixth Sense did that extremely well. Sukumar couldn’t make his own mind up about the film he was making so ended up with an overly long muddle that wouldn’t completely satisfy either full-on Mahesh fans or the psycho-drama audience.
A schizophrenic film about schizophrenia. 3 stars (mostly for Mahesh).
I enjoyed this film despite a few fairly obvious plot holes and a relative lack of logic at times. Most exciting for me were the scenes shot in Northern Ireland since this is where I grew up and, Game of Thrones aside, it’s rare that I get to see my home country on screen. There was something slightly surreal about watching Mahesh Babu run across Carrick-a-rede bridge, past Scrabo tower and wander through the streets of Whitehead, particularly when you know just how far apart those places are in reality! That aside, there is much to enjoy in Nenokkadine. Mahesh is in ultra-brooding mode with his fierce intensity somehow out of place for a supposed rock star. That’s probably my main question – why make him a rock star? Where are his security people and minions to run and pander to his every whim – if he’s as famous as implied here then he does seem to travel very light. His performance however is excellent and as the story unfolds it becomes ever more believable that he has a mental illness with his intense and chilly stare.
Apart from the scenes in Northern Ireland (which I have now forced my entire family to watch) I love when a frog hops away from the fight and the action sequence in the bathroom is fantastic. Peter Hein comes through again! Thankfully there is no annoying separate comedy track to detract from the thriller nature of the story and although the romance wasn’t particularly well realised at least it did give a respite from all the brooding. Nenokkadine is a good attempt at a rather more psychological thriller and while parts of the story are familiar at times, overall I do like the way Sukumar thinks. I love his tendency to make his heroes somewhat damaged and their flaws make them more interesting (Arya 2 is still my all time favourite Telugu film) but at least for this film I would have liked him to branch out a little more from Telugu formula and ditch the songs. I know that’s odd coming from me, since I usually want more songs, but dance numbers just don’t work particularly well in a thriller, and here the tension falters every time the action is disrupted by a song. However, I still did enjoy Nenokkadine and I’d recommend it as a rather more sophisticated thriller from Sukumar and for the excellent performance from Mahesh. 4 stars.
Agree with most of what you’ve written.. I expected a bit more from Sukumar… Being a fan of thrillers, I found lots of scenes boring and deviating away from the main plot. The entire Goa episode should have been trimmed. The interval episode in the toilet, fight before that, Mahesh finding the clue to the actual item ( cant reveal the plot 😛 ) , the chase and scenes killing Kelly dorjee immediately after the intro song were very well shot. I wish sukumar had lived up to his reputation…
Did I miss a mention here about the scene where Gautam finds his past ( the climax and the song ) ? I love that song and also the opening credits..
Oh I so agree – the Goa shenanigans were ridiculous and went on far too long. Most scenes were shot beautifully but Sukumar just spent too much time on things that weren’t relevant and weren’t good red herrings either. He just seemed a bit lost in his own idea.
I didn’t really care for the opening credits or that end song – very pretty but a bit twee for my tastes. And I hate reviews that list every single thing that happens in a film so I do try and leave quite a bit out for anyone who hasn’t seen it yet 🙂 The wiki entry is full of spoilers and details if anyone wants them!
Just for the record. I do approve of the brainy specs. And the elbows. And the upper back…
I’m sure Mahesh will be pleased to have your endorsement Jenni.
Temple is spot on with her review. I wish Sukumar had put in a little more time to fix the script issues (there are too many; major and minor). There should have been a reliable caretaker (like Pepper Potts or Alfred) for Gautam character which would have tied up a few obvious loose ends.
It was too painful to watch all the talent go to waste on an under-worked script.
There are a few scenes which stood out due to extraordinary cinematography- the interval bang; the chaos of Goan markets juxtaposing the chaos in the protagonist’s mind but the contrast of them both (and a few more).
Ratnavelu surely knows how to handle the camera. He deserved much more credit for this film. Alas! Technical nuances go pretty much unnoticed by most of the audience.
I agree with you – the film could have done with an Alfred, but sadly they probably would have cast Brahmanandam or Ali and they would not have been an improvement 🙂
Thinking about your comment on Ratnavelu and how the camera work is largely unremarked…And despite being a sucker for a perfect shot, I sometimes think that if the cinematography is the most noticeable thing about a film then that can be a negative of sorts as it should work seamlessly with the story. Sometimes you see a tricky shot just for the sake of it, or a sequence that is just there because it looked pretty or cool, and they add nothing to the film overall. Not saying that is the case here, as 1 Nenokkadine both looks beautiful and the framing and the composition of shots worked to support and enhance the drama (the internal and external confusion, the switch from darkness to clarity etc). However in this case I really do think the poor visual calls were directorial or editorial not technical, and anyway nothing could compensate for the flaws in the story/screenplay.