Naane Varuvean Review

A thriller that fails to wow yet is ominous and interesting

Director: Selvaraghavan

Cast: Dhanush, Prabhu, Yogi Babu, Selvaraghavan

Synopsis:

A father discovers that his teenage daughter is possessed, and the only way to free her is to do the ghost’s bidding, which leads him to his long-separated twin, who also happens to be a psycho murderer.

Review:

Mayakkam Enna and the brothers inNaane Varuvean both tell the story of identical twins, which has led to the collaboration between Selvaraghavan and Dhanush. However, in contrast to their actual connection, the one shown in the film is fraught with peril, trauma, and mental and physical violence. When it comes to exploring the shadowy corners of the human psyche, Selvaraghavan’s films featuring Dhanush have always been among the best. Kaadhal Kondein, Selvaraghavan’s first film in the director’s chair, starred Dhanush and examined the shadowy side of possessiveness and obsession. They made waves in Pudhupettai by exposing the underbelly of the criminal underworld. Both of them plunged headfirst into the pit of despair at Mayakkam Enna. Now they’re delving into the murkier parts of sibling relationships.

Naane Varuvean, directed by Selvaraghavan, the psychopath is named as Kathir. For no reason other than to get a rush, he sets fire to a local girl’s skirt. He won’t admit guilt and will nurse a grudge until he can get even, even if it means hurting his loved ones. He had no remorse for stabbing his father and locking his twin brother Prabhu in a trunk. This is everything a psychopath is supposed to do. His bereaved mother, rather than seeking treatment for him or surrendering him to authorities, tragically chooses to abandon him.

One of the most engaging aspects ofNaane Varuvean is the way in which it uses both science and fantasy to advance the story. Prabhu becomes a kind parent while carrying the scars of his troubled youth with him. On the other side, Kathir initially has nothing to report. As far as Prabhu is concerned, he may as well not exist. He is only present in Prabhu’s memories for brief intervals. Until Prabhu’s daughter comes back from her trip, we won’t know how much she’s changed. Curiously, the events leading up to this point are all cheery and pleasant. It’s almost as though the filmmakers want the viewer to brace themselves for some bad luck to come to Prabhu and his family. The movie takes on a new tone as Prabhu’s wife describes feeling nervous in their daughter’s bedroom. The transition is from bright and airy to dark and dreary.

Naane Varuvean’s blend of fantasy and fiction helps, and I would not say the film as a whole is lacklustre. When Kathir, now an adult and living in Chopta, finally lets his family in on the truth, it’s one of the film’s most memorable scenes. His family’s anxieties, his own hurt at not being able to conceal his actual personality for long enough, and Kathir’s constant reminders of his previous abandonment all come crashing together at that very time. Kathir may be operating in the shadows, but there is sufficient light on him to show that he has become a monstrous reality. One who really wished to think that he was worthy of love and affection.

He has no qualms about locking people up in the name of love, and he remains a vile monster right up to the end. It’s perfect in every way. This is one of the film’s main issues. The picture is slow-paced while being a psychological thriller. The film’s clear narrative and brief length of 2 hours and 11 minutes save it from becoming a slog.

In general, Naane Varuvean contains interesting moments, particularly in its examination of Kathir’s character. Once again, Dhanush gives a performance to remember. Prabhu and Kathir (Dhanush) are polar opposites in every way imaginable, from their mannerisms to their vocal inflections to their English pronunciation. His depiction of Prabhu fits the tale well, but his performance as Kathir, the adversary, is really cool. Naane Varuven is a decent comeback from Selvaraghavan’s best.