In this too safe adaptation of the Korean thriller, Nayanthara manages to shine.
Directed by: Milind Rau
Genre: Crime, Drama, Mystery
Runtime: 2hr 02 min
Durga, an ex-CBI agent on disability support after losing her eyesight in a car accident, is the protagonist of Netrikann. One day, she becomes the victim of a sexual predator who abducts and violates young women. Despite escaping by a hair’s breadth, she becomes determined to apprehend him and bring him to justice. The rest of the film is determined by how she accomplishes this.
The antagonist is a psychopath, and the unlikely trio of a visually impaired woman, a reviled cop, and a carefree youth will eventually catch up with him. The ‘thrill’ factor could be increased even more. A few simple questions, some witness persuasion, an undercover operation, and a WhatsApp group message later, and poof! The kidnapper has been taken into custody, that looks way easier kind of screenplay.
Netrikann is a fascinating character. Durga is a CBI agent, and that’s it. Not moving much into her personal profession. This is not a film that will spoon-feed you; instead, it expects you to get it and move on. The story then moves to crime and inquiry. Although the interval block is predictable, it is overwhelming and keeps us at the side of Durga. Durga pretends she is not blind. It’s a smart sequence. A sensitive balance between dramatic flair and realistic possibility is struck in the last battle.
Nayanthara also seems more comfortable with her vulnerability than her famous star. The relationship between her and her villain is bound to touch her innermost feeling in the Police Station, which is her moment of super stars. But her compassion and compassion fight, if you like, is human.
As a ridiculous cop in the cinema, Manikandan is great with a heart of gold. It represents trust and desperation, not becoming a drama that the character has to play. We see that his superiors are being pleaded and whirled. While his boss is totally gone, “po ya” is all he can collect (a respectful way of saying “get lost”). The portions of the comedy are worthy of its seriousness. His first scenario, Sambar, is an excellent prediction of what it’ll be. He always makes us root in for him every time he talks of “scene-u” and believes he can be confident. It’s hard to tell if Manikandan writes with his personality more visually than Durga or how he fills such gaps as an artist: he. For example, Durga’s redemption, assembly songs, many talks and scenes. We never know why he is ridiculous, apart from the remarks of colleagues. But he is a desperate subdog, Manikandan can never forget. It’s very friendly, life-like not only the character connects.
Ajmal Amir, on the other hand, is like a kidnapper. Rhythm. Staccato’s dialogue, his exaggerated expressions, is less dangerous than disgusting. He seems to have no chance against her while his character is small before Durga. The individual is also not incorrectly written. That, this, it isn’t helpful are the story from him. His background seems to “explanate” his problems with psychopathy. Some medical “disorders” have been named for good measure. I wouldn’t be surprised if gynaecologists had been insulted without too much.
Idhuvum Kadandhu Pogum jumps to a song about going a bit further just after an accident where Durga lost her brother and eyes (this too shall pass). The movie doesn’t give her time to mourn. So I asked if she didn’t move on to the song when talks appeared later about its fault.
The camera work of Rajasekhar is splendid. It looks beautiful the illumination in the night scenes. Girishh Gopalakrishnan enhanced the whole musical feeling of the film. If the director was concerned with logic, Netrikann could have been a tight and a narrow thriller.
Netrikann is currently streaming on Disney+Hotstar
Review by: Vigneshwar VG