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Review by : Behindwoods review board
Starring: : Sibiraj, Prasanna, SP Balasubramaniam, Ramya Raj.
Direction: Sakthi S Rajan
Music: James Vasanthan
Production: Capital Films
A corrupt bank official sets a trap to get even with his blackmailer who in turn is so smart that he saves sensitive documents in the same bank the official is employed in. Naanayam’s premise provides enough scope for an edge-of-the-seat experience. The script employs countless twists and turns, although only a few of them really work – before which the damage of ruining it is already done.

On the other hand, stripped bare of its regionalization, Naanayam also feels like inspired from a vaguely familiar Hollywood movie although there’s no evidence to call it a Dead Ringer. We won’t be surprised if it’s one. After all, Hollywood is ridden with movies on bank robbery – and many of them clever and convincing.

SPB is the CEO of the Trust Bank, who gets into a complicated trouble and seeks Prasanna’s help to get out of the situation who in his mission to help SPB, gets embroiled in a deeper quagmire. How the duo gets out of the mess forms the rest of Naanayam.

SPB’s role is the central plot character of the movie and Prasanna’s role in the latter half contributes to the missing ‘Naanayam’ part of it. Prasanna’s role, as the virtuous
young man, is hardly new turf for him and the fact that he’s convincing isn’t at all surprising. Alternatively, Sibiraj’s role offers him very little; only that it’s different from his usual routine of lead roles.

Some of the movie’s escape tricks are very lame – for instance Ramya does a mix of pole-dance-cum-disco to evade the laser beams that protect the bank’s lockers. You simply wonder: whoever came up with that idea!!!

James Vasanthan’s songs are just about so-so and have no say in the movie’s progress. Thaman’s background score, however, peps up the scenes and provides it the required perkiness. Editing effects baffle the viewer in the name of novelty and appear more of an obstacle than helping with the movie’s flow.

In retrospect, despite all the odds, there’s one thing strikingly honest about the movie: its title. It doesn’t seem to be born out of the urge to appease the taxmen with Tamil titles, but serves as an ironic reminder of what is not present in the movie.

Verdict: Morally bankrupt!

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