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There were many things about the unique combination of a good actor like Suriya and a distinguished filmmaker like Selvaraghavan. Suriya looked a bit like Che Guevara in the original NGK poster, which was a political thriller. The trailer and its striking lines also raised expectations. But the film, which has been in production for over two years now, is unfortunately far from perfect, looks dislocated and lacks a consistent narrative.
To a large extent, NGK only works because of Suriya's astonishing performance, in the lead role of Nandha Gopalan Kumaran. Suriya keeps this film uneven together. He embodies a small town, a highly qualified organic farmer and a social worker who is forced by the circumstances to get into the mess of dirty politics. In fact, the film resembles Selvaraghavan's opinion on politics and political events in Tamil Nadu. It's also the director's first big film, seeing that he was working with his brother, Dhanush, and then Karthi, while they were about to become stars. from NGK. Image via Twitter / @ TrollVeriyans
NGK (Suriya) is a graduate in environmental engineering who resigns from his position to embark on organic farming. It is a benefactor, who always has in mind the well-being of the people and the young people of his small town consider him a role model. Local politicians envy its reach among youth. He lives with his loving parents and a benevolent and possessive wife (Sai Pallavi). But the prevailing corrupt political system does not allow it to help the poor and the needy.
When an old politician Giri (Bala Singh) tells him that he can not change, unless to infiltrate a party and clean the system, NGK forced to join a Dravidian party, tightly controlled by management. And he comes across Vaanathi (Rakul Preet Singh), a modern political badyst specializing in electoral strategy. The spark at NGK to change the system causes upheavals among the deeply rooted political parties. And a subtle extra-marital relationship between NGK and Vaanathi is evoked. It is justified as a "dream song".
In Selvaraghavan's films, women play an important role. But here, Sai Pallavi is wasted as a wife of NGK and in some cases she is doing too much. However, Rakul Preet as political strategist has a better written role. The film really lacks a very nasty character. Yuvan Shankar Raja's score is good, but the songs do not fit with the content.
The first half is nice, but it's the second half that progresses in a convenient and predictable way. There is also a mbad fight scene in the break room, which seems to have been forced into the story. In Kollywood, when a successful director gets the date of a 'superstar', he does everything possible to integrate the star's mbad image into his plot and expect his fans to flock to the theaters. This is evident with NGK.
The problem with the narrative is that it is neither a Suriya artist nor a Selvaraghavan film. NGK ends up becoming a compromise film that is neither monstrous nor chic.
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Date of publication: May 31, 2019 at 12:39.
| Last updated: May 31, 2019 12h39
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Date Updated: May 31, 2019 12:39:43 PM HIST
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