At the night of his marriage, a social activist finds the woman he’s wed was made to consent to the union with her casteist loved ones, and sends her away with her lover. However, the woman’s family is determined to obtain the few, murder them and conserve their caste pride. Can the activist along with also his’sago’s rescue them?
Samuthirakani’s Naadodigal has been a sleeper hit in 2009, and this religious sequel demonstrates how far the his priorities have shifted as a writer and manager over the last ten years. But through time, Samuthirakani has begun looking at theatre for a medium that’s in support of their messages (it’s never only 1 message with this manager ) that he would like to communicate. Story and figures are down the sequence in comparison to the messages. This strategy has only result in irregular storytelling and primitive filmmaking so much that his movies have started to feel exploitative. Along with this anti-caste messagewe receive messages on encouraging transgenders, NEET imposition, and much more. But there’s even a personality – possibly a stand-in for your manager – that looks every now and then spouting messages. Why? In the realm of Samuthirakani, even the frequent action of seeing a movie could be transformative. And sohe makes the decision to perform a conference gathering like-minded children who abhor caste. However, the pioneer of a caste celebration turns the event into a riot. Cue reference into the jallikkattu demonstration.
Meanwhile, the Jeeva’s union becomes fixed (after several rejections), but on the night of his marriage, he learns that Sowmya (Athulya), the woman who is now his spouse, has been forced to consent to the union by her casteist family. Being the revolutionary he is, Jeeva sends her away with her’lower caste’ lover (Esakki Bharath), however, the woman’s family is determined to obtain the few, kill them and preserve his or her caste pride. Can Jeeva rescue the kids, that are naive beyond belief?
It’s just after it builds its storyline that Naadodigal-2 gets moderately engaging. The story becomes tight, the scenes capture some quantity of strength and we get some thing of this rush which Naadodigal provided. There’s even anl love – involving Jeeva and Sengodi (Anjali, at a style which has spunk but is marginally underwritten), a fellow activist, that’s beautifully brought out. And to his credit, Samuthirakani does not turn Jeeva to a superhero. We get minutes where he’s really astounded not knowing what to do . He’s even overpowered at a stunt scene, requiring an additional personality to rescue the day. And it’s these touches which make us more aware of the movie’s shortcoming, as a result of the message-first strategy.