Nee Enge En Anbe Review
by Sai Shyam G
The first declaration to be made while reviewing ‘Nee Enge En Anbe’ is that the movie is more of an adaptation of Bollywood film ‘Kahaani’ and not a scene by scene remake. Director Shekar Kammula,who is known for his feel good movies like ‘Happy days’ has directed this bilingual in Tamil and Telugu. Read on to know if the movie packs a punch like how ‘Kahaani’ did.
Anamika (Nayanthara) comes to Hyderabad from US in search of her husband, who has gone missing without a trace. Police officer Parthasarathy (Vaibhav) helps her initially to search her husband, but after a while, encounter specialist Khan (Pasupathy) takes over the case as the case involves terror angle and a senior minister.
Nayanthara, with minimal or no make-up does come up with a convincing performance, but Vidya Balan was too good for her to match. The limitations and the changes in the script could also be the reasons for this. While Vidya Balan was seen as a pregnant lady in Kahaani, Nayanthara is not shown that way, which is a cautious decision by the makers. Vaibhav fits in the role of a police officer aptly, while only after Pasupathy’s entry, the movie gets a Tamil flavour, as most part of the film is filled with Telugu dialogues. Some of the mannerisms of Pasupathy evoke laughter, but he needn’t have looked arrogant in the beginning.
Under Keeravani’s music, the songs are used as montage numbers and none of them pop up as a needless dream number. The background score is functional and aids the visuals during tense moments, especially in the second half. Camera work just passes the muster as the lighting could have been better in few scenes. The scenes lack visual aesthetics and detailing.
Direction – Sekhar Kammula
Director Sekhar Kammula has made sure that the twists in this film should be different from the ones in ‘Kahaani’, which is a good thing, as this movie manages to keep the suspense intact even for the people who had watched the original version. Having done that, the director misses out on keeping the screenplay tense throughout. The first half takes its own time to set the basic premise for the film and it is only in the second half, the actual mystery gets highlighted. Including a perverted police officer character could have been avoided as it becomes too cliched for the Tamil audience.
The movie is also devoid of small intelligent moments that were present throughout ‘Kahaani’. While the audience were completely bamboozled in ‘Kahaani’, the director here tries to give clues to mislead the audience, which have backfired to an extent. At the end, when Pasupathy says ‘Vitru Sarathy, she is nameless and faceless’, you would be tempted to ask ‘She had come from US to India with a passport and she had signed at several places, how can she be nameless’? However, the movie still works as a decent thriller, if you don’t mind the sluggish pace at times.