Saba Nayagan movie review: A Relatable Yet Flawed Journey through Love and Laughter

Saba Nayagan movie review:

In the vibrant world of Tamil cinema, “Saba Nayagan” stands as a film that aims to capture the universal experiences of love and heartbreak. Directed by CS Karthikeyan, the narrative revolves around Aravindh, portrayed by Ashok Selvan, as he recounts his romantic misadventures to the police, while in a drunken state.

The film’s premise holds promise, inviting the audience to embark on a journey through Aravindh’s quest for love, from his schoolboy infatuations to the complexities of adult relationships. This relatable theme is further enriched by the film’s setting, which departs from the Chennai-Madurai-centric mold prevalent in Tamil cinema, instead choosing the backdrops of Erode and Coimbatore.

Ashok Selvan takes on the challenging task of portraying the multi-faceted character of Aravindh, seamlessly transitioning from the wide-eyed innocence of adolescence to the confident swagger of adulthood. His performance shines through, capturing the nuances of Aravindh’s emotional evolution, despite initial concerns about his ability to convincingly portray a schoolboy.

Surrounding Selvan is a talented ensemble cast, including Karthika Muralidharan, Chandini Chowdary, and Megha Akash, who effortlessly embody the essence of love at different stages of Aravindh’s life. The supporting characters, too, contribute to the narrative, adding their own unique flavors to the protagonist’s journey.

However, despite its promising premise and commendable performances, “Saba Nayagan” struggles to fully engage the audience, grappling with a number of structural and thematic issues that hinder its potential impact.

One of the film’s primary shortcomings lies in its handling of humor. Intended to provide comic relief, the attempts at eliciting laughter often feel forced and predictable, relying heavily on cues like music, exaggerated performances, and overtly staged sequences. This predictability diminishes the authenticity of the humor, leaving the audience with a sense of missed opportunities for genuine, organic laughs.

Furthermore, the film’s screenplay, while competently designed, falls short in providing a truly three-dimensional exploration of Aravindh’s emotional journey. The narrative swiftly moves from one phase of his life to another, glossing over the heartbreaks and missing the chance to delve into the emotional aftermath of failed relationships. This lack of depth in the character’s emotional arc hinders the audience’s ability to empathize with Aravindh’s growth.

The uneven development of character relationships, a crucial aspect of any romantic narrative, also emerges as a weakness in “Saba Nayagan.” Supporting characters and their relationships are given significant screen time at random intervals, disrupting the pacing of the film. This decision to allocate substantial chunks to secondary characters takes away valuable time that could have been used to explore the dynamics between Aravindh and his romantic interests, further contributing to a sense of detachment.

While the film’s setting in Erode and Coimbatore stands out as a commendable deviation from the norm, the narrative’s inclination to play it safe and adhere to a familiar structure limits the exploration of the rich cultural and emotional tapestry that these locales could have offered. This choice potentially stifles the film’s ability to truly stand out in the crowded cinematic landscape.

In terms of the technical aspects, the cinematography by Balasubramaniam, Dinesh Purushothaman, and Prabhu Raghav effectively captures the essence of the film’s settings, providing a visually appealing experience. Leon James’s musical score complements the narrative, heightening the emotional beats. However, the film’s length and pacing issues, particularly in the scenes related to Aravindh’s school days, undermine the overall flow of the narrative, leading to moments of stagnation that can frustrate the audience.

In conclusion, “Saba Nayagan” presents a relatable premise that, unfortunately, succumbs to predictability and a lackluster execution of humor. While Ashok Selvan’s performance adds a redeeming quality, the film’s reluctance to explore the emotional depths of its characters and its adherence to a safe narrative diminish its potential impact. The technical aspects shine through, but the film’s length and pacing issues hinder the overall cinematic experience. “Saba Nayagan” may provide a nostalgic trip down the lanes of school and college love for some, but its shortcomings prevent it from leaving a lasting impression in the vast landscape of Tamil cinema.