Nanayam

The film does remind you of various bank-heist films. Like The Inside Man, Ocean’s Twelve and Entrapment.

Published: 18th January 2010 12:59 AM  |   Last Updated: 16th May 2012 03:08 PM   |  A+A-

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A battle of wits between Ravi, a man who had designed a burglar-proof, multilevel safety system for a bank’s vault, and Fareed a crook who plans a heist at the bank using Ravi as his pawn, forms the core of the plot. It’s a fairly competent job from debutant director Shakti, who has managed to maintain an element of suspense  till the end. It's appreciable that Prasanna is trying out varied roles and evolving into a thinking man’s hero. He is natural and spontaneous as Ravi, a man in a moral dilemma about having to betray the trust of his boss, banker Vishwanath (SPB). Sibiraj’s ‘heroic’ celluloid battles haven’t done much for his career. And the detour to villainy here seems a wise move. For, as the suave, wily crook who taunts, blackmails and forces Ravi to help him break into the bank’s vault, Sibiraj creates a stronger impact here than in his earlier roles. There is Ravi’s ladylove the sultry Nandini (Ramya aka Ragini), held hostage by the gang to put further pressure on Ravi. Yasmin has lesser to do as Ravi’s trusted bank colleague Devaki.

As the story proceeds, skeletons come out of the closet, secrets and lies are exposed, with Ravi having to use all his wits to outsmart the crooks. There is a twist in the finale too. A surprise casting is that of  SPB (his home production) as the prestigious banker Vishwanath, dignified in his demeanour, vulnerable, and caught in a situation not to his liking. Bulky Jasper gets noticed in a couple of scenes as Fardeen’s gang member.

The film does remind you of various bank-heist films. Like The Inside Man, Ocean’s Twelve and Entrapment. But these inspirations have been neatly packaged into a fairly engaging thriller. From producer S P Charan’s stables, its yet another commendable effort of giving a break to new talented makers, and providing a fare different from the routine ones.

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