She isn’t an unscrupulous person (she passes off beef as mutton in her dhaba and in one scene, we see her stealing from a vendor) but her character becomes like that of a typical filmi heroine when she falls in love with Murugan. Aari, who looks radically different from the lover boy in Maalai Pozhuthin Mayakkathiley, tries his best to make Murugan a badass but the character lacks charisma and we don’t really empathise with him as much as we should. Sadly, their performances also make the lead characters less interesting. Credit for this is also due to the creepy performance of Prashant Narayanan (who, in certain angles, seems like a cross between Daniel Balaji and Suriya) and Salim Kumar, who, as the slimy Maatu Sekar, is equally remarkable. Hewing to the template of that film (a bold girl falling in love with a ruffian and trying to lead him away from his life of crime), with a dash of Subramanipuram (friend turning foe) thrown in, Krishna creates a film that holds your interest despite the predictability. This enrages Masanimuthu, who plots his revenge by making Murugan the scapegoat in a robbery involving the goods of a fearful big shot.įrom the characterization of the hero (right down to his costumes) to the tragic climax, the shadow of Ameer’s Paruthiveeran looms large on Nedunchalai, and this is both its strength and weakness. But Murugan double crosses him, and saves Manga from dishonour and this makes her fall for him. He lusts after Manga and tries to fuel a tiff between her and Murugan, who loathes him completely, for his benefit. Meanwhile, the place gets a new cop, Masanimuthu (Prashant Narayanan), who is as crooked as they come - the kind of cop who will smoke ganja while on duty, demand servitude from a black marketer, Maatu Sekar (Salim Kumar), in exchange for his protection and even plan a robbery. He is so skillful that the lorry owners re-route their vehicles to go through a newly constructed highway, which becomes beneficial for Manga (Shivada), a young and enterprising dhaba owner. Here, it is Tarpaulin Murugan (Aari), a highway robber, who steals from lorries that ply on the highway near Periyakulam. The setting is the mid eighties and the plot revolves around a ruffian who is a better man than whom he seems to be, an always fashionable conceit in Tamil cinema. Like his debut film, this one too is a wistful journey of a character - if it was a man’s longing for a lover in the earlier film, this one is about a man’s regret over his action. For, this film is certainly a surefooted effort that shows that this director can tell an engaging tale.
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Movie Review: His debut film Sillunu Oru Kaadhal was largely a middling effort remembered mostly for AR Rahman’s songs but with Nedunchalai, Krishna shows that the unevenness of that film could have been a case of nerves of a first-time director working with a star. Sparks fly between Masanimuthu, the crooked new cop who has come to the place, and Murugan, and their hostility increases after they cross swords over Manga, a young dhaba owner.
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Synopsis: Tarpaulin Murugan is a feared name on the highway near Periyakulam, as he steals goods from lorries plying on the route.