Suseenthiran is one of Tamil cinema’s most unpredictable directors. Sensitive, detailed and layered, there’s no limit to how good a scene in one of his films can get.
Remember how deliciously momentous he makes that scene in Jeeva, where a young cricket lover buys his first cricket bat? But when he’s not in form, there’s no limit to how bad things can get either and I hope you don’t remember the flurry of forgettable scenes in Rajapattai.
His latest, Nenjil Thunivirundhal, is not like the latter. But it doesn’t reassure you that it was made by the same guy who gave us meaty films such as Vennila Kabadi Kuzhu, Azhagarsamiyin Kuthirai or Naan Mahaan Alla either.
There’s a lazy pace with which this film trots along in the first hour or so, and we notice that nothing consequential has happened until the interval. Despite all the time spent in introducing us to the main characters, one still doesn’t know enough to relate or sympathise with any of them.
- Director: Suseenthiran
- Cast: Sundeep Kishan, Harish Uthaman, Mehreen, Vikranth
- Storyline: A man’s sister falls in love with his best friend, but keeps their relationship a secret
So we get two best friends — Kumar (Sundeep Kishan) and Mahesh (Vikranth) —and a few incidents that establish their friendship. Mahesh starts dating Kumar’s sister on the sly, but feels guilty for not telling his friend. The couple decide to hold on for 10 days to come out in the open and most of what happens in the film is a result of that wait.
There’s also a bad guy, Durai Pandi (Harish Uthaman), who specialises in blackmailing people who approach him for help (though I’m not really sure why people still go to him in the first place). About 10 minutes into the second half and things finally start moving. There’s a twist, a secret that’s uncovered and we’re expecting things to heat up. But they don’t and all the film’s loose ends are tied up conveniently. A heroine and two romantic songs are squeezed into this and so is an unfunny Soori.
There’s a half second in Nenjil Thunivirundhal where we’re shown a name board outside Kumar’s house. It’s neither his nor his father’s. It’s his sister’s, who is a future doctor. With this one second, the director is able to establish her importance in that house and what the future holds for the family. Where was this Suseenthiran in the rest of the film?
In its present form, though, the challenge hinted in the title is meant for the audience.