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Kumaran isn’t like Selvaraghavan’s typical heroes.
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Suriya delivers a sincere performance, undoubtedly, though it takes some time to warm up to his character. It is in these instances the drama unfolds and that the film manages to touch the bar of a Selvaraghavan film. The best moments in NGK are those where Kumaran doesn’t exactly play the ‘hero’ but a sidekick. Maybe, that’s why he has named his protagonist NGK that also comes with three initials. As Kumaran’s mother puts it, he is “mad about the country.” Selvaraghavan is an avid fan of MGR. He is frustrated by the system and wants a change. Kumaran (Suriya), an organic farmer who has completed M.Tech and PhD, joins a political party to do good for the locals. Simply put, it is neither a Selvaraghavan nor a Suriya film. There is a certain classiness to this intense political drama that you can’t deny-but NGK, on the whole, isn’t satisfying. NGK is about Nandha Gopalan Kumaran, a grassroots worker, who eventually becomes the Chief Minister of Tamil Nadu. But again, the tone of NGK is drastically different from the 2006 cult classic.
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For those yet to watch the Suriya-starrer, how do I describe the film in a few words? NGK could be Kokki Kumar’s son (the character played by Dhanush in Pudhupettai). NGK isn’t a Mudhalvan, Sarkar, NOTA or a Bharat Ane Nenu, but somewhat plays out that way. What happens when an ‘artistic’ filmmaker, known for specific kinds of films, collaborates with a mainstream commercial hero? What happens when two different worlds merge? How easily can a ‘serious’ director pull off a crowd-pleasing story? What could be the result? A hotchpotch.
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