Irwin Nizall follows his protagonist through a harrowing path filled with memories of his dark past.
Oththa Seruppu is something different and even if it sounds like self-praise, the truth is, even legends like Sivaji sir and Kamal sir didn’t do it. I come from a theatre background, so being able to hold the audience for two hours was an interesting challenge.
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But when that film got released, I had to beg theatre owners to show an additional show as people were showing an interest in it.
But then, it went to film festivals and even landed a spot on Oscar’s eligibility list. A year later, when people watched it on Netflix, many regretted not having caught the film on the big screen. I hope they don’t miss Iravin Nizhal in theatres.
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Moreover, I find that Tamilians overseas seem to have more admiration for the language than many of us here who make a living from it.
That’s how Iravin Nizhal, a story I had written 10 years ago, happened. When Ilaiyaraaja sir saw Oththa Seruppu, he asked me what more I could possibly do.
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Nandu (Parthiban himself) is a mysterious man who is leading a sad life. He is on a run and his life is filled with nothing but a crime. His life is all about people who are the reason for the crime in his life, and sins, and now it is all about the last hope at redemption.
Nandu is a film financier and is running with a gun which he hopes to use on Patamananda (Robo Shankar), a fake godman, who is one of those to have put him in this precarious position. Nandu is waiting for Patamananda at his dilapidated ashram and what happens next is a roller coaster ride.
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We see the women who walk into his life – Lakshmi (Sneha Kumar), Chilakamma (Brigida Saga), Parvathi (Sai Priyanka Ruth), and Premakumari (Varalaxmi Sarathkumar).
This film is an absolute delight to watch. Parthiban makes every scene worth watching. One thing you can always be sure about when watching his films is that you will never get bored.
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Throughout every single scene, he is working hard to give a new watching experience to the audience and that is what will make you look forward to this amazing experience.
There is no lack of effort anywhere in the film and it makes your watching experience a one to be remembered. The story will be registered in your mind for a long time as the climax is something you can’t predict or expect.
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I sheepishly smiled because I knew I had Iravin Nizhal next. The impossibility of pulling off such a film with quality intrigued me. I didn’t want to make it an off-beat story for an OTT platform. I wanted it to be something that the audience could enjoy.
Iravin Nizhal seems to contain a lot of parallels to your first film, Pudhiya Paadhai. Yes, both are emotionally strong. Pudhiya Paadhai was the story of a child born in a rubbish bin.
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Iravin Nizhal starts with a child trying to drink the milk of a dead mother’s body. Imagine how difficult his life would be.
Propelled by crackling energy, sustained pace and technical derring-do, veteran actor-writer-director Radhakrishnan Parthiban’s Iravin Nizhal (Shadow of the Night) is a single-shot film of phenomenal power and ambition.
The cinematic bildungsroman spans half a century and pans out across multiple locations to tell a twisted story of a beleaguered man who is left to count his losses in the fiftieth year of a topsy-turvy, tragedy-ridden life that has taken a heavy toll on his mental and emotional health.
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Iravin Nizhal, a little over 90 minutes long, is a remarkable synthesis of daring and heart, a dazzling movie experience that skirts around the dangers of a form that might look like a gimmick to some. But such is Parthiban’s creative pluck that he goes out on a limb, unmindful of the risks involved.
With the camera used like a spray-paint gun to fill a massive canvas with pictorial and plot details, Iravin Nizhal is an emotional rollercoaster buoyed by the lead performance and an immersive, riotous colour palette.
The film is proud of itself for choosing a non-linear narrative. What it really offers is a chaotic, unconvincing plot. The standoff between Nandhu and the godman-criminal, you’re led to imagine, is the centre point of the plot.