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Spoilers ahead…
Unlike ‘Parasakthi’, for instance, the dialogue is not folded into a “story”. Instead, the story (such as it is) forms around these dialogues.
Pa Ranjith’s cinema has always been about breaking the status quo. In Natchathiram Nagargiradhu, he breaks the boundaries between theatre and cinema. It takes a while to settle into this film’s rhythms – in a way, it is like watching filmed street theatre. But this experimentation in terms of form is perfectly in sync with this filmmaker’s politics of inclusivity. If everyone should be considered equal, then why should we discriminate between art forms? If a Dalit (Dushara Vijayan) can be in love with someone from a dominant caste (Kalidas Jayaram), then why can’t the polemics of street theatre be absorbed into cinema? In other words, why should cinema always be “naturalistic”? Ranjith has always been a terrific filmmaker (remember the sequence around Anbu’s death in Madras?), but too often – and perhaps, inevitably – his politics has always been noticed more, praised more. Natchathiram Nagargiradhu should change that forever. It is his most daring experiment in terms of form.
You can read the rest of the review here:
https://www.galatta.com/tamil/movie/review/natchathiram-nagargirathu/
And you can watch the video review here:
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