cinema cinema:tamil Parking Lot Notes

Parking Lot Notes: Nerkonda Paarvai

It is difficult for me to see Nerkonda Paarvai without making comparisons to Pink, at the same time it is also difficult for me to accept that an EDM festival in such a large scale would be held near Mamallapuram.

Yes, that is how H Vinoth’s Nerkonda Paarvai begins. 

If this had been an FRS we would have cut points for disbelief, but this is no FRS. 

Even with some years behind since its release Pink had something going for me, its absolute lack of heroism itself was heroic, the smooth transitions between the scenes which were not wanting to create dramatic tensions when they did not exist. 

When Amitabh Bachchan stands up to say “No” there is but a ticking clock (presumably of the court) which keeps him company, there is no other score. 

Just a lawyer delivering the closing arguments of his case. 

There has been many a column dedicated to how bold it is for a hero like Ajith Kumar to take up such a subject.But many columns need to be written on how the film making differs and the additions that Vinoth has added only hamper the classic and on point film making of Pink. Hopefully this is a start. 

Nerkonda Paarvai is in all ways an inferior remake of Pink. Let’s start with the characterisation. 

Deepak Sehgal is a disturbed ageing lawyer, his illness is mentioned but not explained, we know it is an impediment when he mixes up words when fighting for the girls. These impediments make the fight difficult, they add one more layer when the wronged girls go against the powerful boys. 

In the Tamil remake, the worst I had feared had happened; Bharath Subramaniam has a mental condition- bi polar, stress and anger issues etc but this is hardly an obstacle, in fact this mental condition gives Ajith a superpower to bash goons- again typical nondescript goons. There is no obstacle, in fact here they fear the hero. 

I loved Viswasam, I almost felt it was a clever Tamil reworking of Logan- Ajith even sports the same tired look of Hugh Jackman (this for another blog post). In Nerkonda Paarvai, his association with super heroes continue and Bharath Subramanium is nothing but a Bruce Banner/Hulk as realized by Ajith. 

Nothing wrong with that, except that this characterisation is in the wrong movie. 

I am not sure if the Pink remake needed a heroic backstory for its hero, but it surely did not require the utterly unconvincing Vidya Balan flashback. Oh and a loud Yuvan background score. 

And of the other actors only Rangaraj Pandey seems to be having fun, playing a version of himself- one of the most confident debuts in recent times. 

At the Laureate we do not celebrate movies just because of the themes that they take up- but hey many liked this film- why such negative notes? 

Maybe it is me, I should have given more time between viewing these films. 

In that case I would have forgotten about how beautifully absent of background music Pink was.

I would have forgotten the biting sarcasm that Sehgal brought about in his ‘guide to the modern Indian woman’.

I would have forgotten that Amitabh was just a player ( an able one at that) in the movie which was more focussed on the girls. 

I would have forgotten all about how the original treats people as people and not playing them as heroes and villains, the remake does this constantly by close-ups and ominous music. 

Maybe it is not them, it is me. 

cinema cinema:tamil


And we are back with our tired and tested, yet faulty review for another film. If you have been unaware of what FRS is, kindly refer our introduction to FRS here.


Nee Enge En Anbe

+1: For a bad remake, Nee Enge En Anbe (NEEA or Neeya?!) begins quite well.

-35: Bad idea results in bad remake, extra points for thinking of remaking a good film and failing quite badly on all fronts, why do you have to remake a good film unless you aren’t adding anything  substantial to it, also Kahaani is quite a pop film, won few awards too right?

-12: Location, location,location- in the original Kahaani, Kolkata provided the perfect setting and its character was central to the story, here Hyderabad however the maker has tried to justify, seems a force fit.

-4: Nayanthara’s eye lashes, no seriously if this movie was 3D they would poke your eyes, so visibly long, but why?

-5: Crying Nayanthara

-5: More crying Nayanthara

-5: Still more crying Nayanthara, for a thriller this is one of the weepiest, frustrating because we apparently don’t know what she is crying about. They should have called it Cries and Whispers instead, also fits.

-19.5: Whole movie seems so un-stimulating and there is no interest for u to suffer with it, you might argue that since Kahaani has been watched by us, this is not a valid reason. But we are not listing valid reasons here.

-8: Enough with the imagery guys!! We get it that the movie is about an avenging angel, while Kahaani was subtle and nice about the durga pooja and Vidya Bagchi’s story, here every alternate scene is Nayanthara praying to the goddess wide-eyed and vengeful, leaving little to surprise.

We’re stopping not because we couldn’t find more points, in fact there were many like insufficient character growth and the overreaching of the script to complicate itself, but it is just that we are tired.

We also liked the original a lot and even after multiple viewings it still retains some magic, this might have influenced our negative viewing of Shekhar Kammula’s new film. It is quite understandable that a person who hasn’t seen the Sujoy Ghosh film might enjoy it, but we would like to bet against it.

All numbers are arbitrary and instantaneous.