Nanban Oruvan Vantha Piragu Review: A breezy and no-frills ode to friendship, love, and home
Nanban Oruvan Vantha Piragu movie review: This film is like going on a trip down memory lane, without anyone rushing us to reach our destination. The film talks about the importance of the journey, and how each path finds its own torchbearers when it has to
At one point in the voiceover that runs throughout the runtime of Nanban Oruvan Vantha Piragu, Anand (Ananth) says, “My house is small, but it is a place that had a lot of happiness.” Such a dialogue might seem cliched or really old school for a 2024 film. But, in a world, where largesse is celebrated as excellence, it is impressive that a film considers the size of an ‘own house’ as a talking point, but not as a measure of self pity. The film revels in its simplicity, and writer-director Ananth, tries his best to keep things simple for the longest time. In fact, watching Nanban Oruvan Vantha Piragu is like going on a trip down memory lane, without anyone rushing us to reach our destination. The film, presented by Venkat Prabhu, talks about the importance of the journey, and how each path finds its own torchbearers when it has to.
Ananth, who has previously starred in supporting roles in films like Meesaya Murukku and Natpe Thunai, goes the Hiphop Tamizha Adhi way to craft a film that showcases himself in a film that plays to his strengths, and is basically about how natpu is his thunai (Friendship is the saviour). Right from the word go, Ananth dials up the nostalgia quotient to appeal to an audience that loves throwing back on a Thursday, and attempting a flashback on a Friday. There are WWE trump cards, there are ‘colony days’, there are intense games of seven stones, there are tape recorders and audio cassettes, there are flashes of college counselling, and how the brochures paint a starkly different picture from reality. And there are Thala-Thalapathy references, and a lot more ideas that might not always work, but is a gift that keeps on giving.
Nanban Oruvan Vantha Piragu is filled with such moments, coming one after another, even while giving the audience enough time to feel invested in the story. Yes, the film is all about Ananth, and the friends that he meets during the journey of life. There is his school/colony gang (lead by a brilliant RJ Vijay). There is his college gang. There is a Singapore gang (lead by an effective Vinoth). And each of them are like the reservoirs of his life. There is a professor Maya (Aishwarya), who lends a lot of credibility and dignity to a role that has not been explored enough in our films. One good teacher can change lives, and it is lovely to see an onscreen college life that isn’t a caricature. There is also a romantic relationship between Ananth and Kanamma (Bhavani Sre), which starts off well, hits a big trough in the middle, and reaches its rightful ending. Somehow, Ananth brings them all together to implement every new-age gang’s pipe dream of working together in a job that is satisfying. There is a start-up, there is an app that is going to be the next thing, there is financial trouble, and of course, there is a major conflict soon after. The plot points might actually seem cramped or rushed, but it actually feels like a breeze because Ananth gives us nuggets of nostalgia time and again, to keep us invested.
The goodness of people in Anand’s life might seem convenient to a fault, but Nanban Oruvan Vantha Piragu tries to establish the fact that every person can be a friend i
If the right moves are made. While this overdose of niceness among people feels overwhelming, it is clear that the niceties are just a part of who they actually are. It isn’t a facade. Every character in the film, including him, is well-written with a completely defined arc. Every character has a want, a need, and a resolution, and this is the biggest strength of Nanban Oruvan Vantha Piragu.
While it is impressive that Ananth plays not just to his strengths but also taps into the offscreen persona of his primary characters, who are mostly social media influencers, there are times when he does let go of the tight rein. Even the big conflict that threatens to break the close-knit group happens arbitrarily. However, as long as the film deals with the interpersonal equations between these characters, Nanban Oruvan Vantha Piragu is effective. But whenever the focus meanders, the film is affected by bouts of nothingness. This nothingness finds solace in the music of AH Kaashif, and the composer not only gives us foot-tapping remixes of a few tunes from his legendary uncle AR Rahman’s repertoire, but also delivers a banger of an album. The cinematography of Tamil Selvan beautifies the cramped up spaces to give us a peek into the life of Anand, and special mention to art director Rahul for giving us a Chennai that feels lived in.
