Audio Label Sony Music

Nanbenda Review


Nanbenda begins with Sathyan [Udhayanidhi] escaping from prison and is on verge to kill the person, who put him in this condition. Switch to flash back mode, Sathyan offen travels to Trichy to meet his childhood friend Sivakozhunthu [Santhanam] and meet Ramya [Nayantara] on his way. Sathyan recalls his astrologer's words that he will marry a girl of his choice and will meet his soul-mate thrice on their first day of meeting. Sathyan starts believing in destiny and fall head over heels for Ramya after meeting her for three times. As Ramya started loving Sathyan, she reveals her undisclosed past to him. What happens next forms the crux of Nanbenda.

Watch Nanbenda to know, Why and whom did Sathyan plan ti kill? What is Nayantara's unrevealed secret?


Udhayanidhi has improved from his past movies, both in dance moments and comedy timing. But, Sathyan being the similar role that of his earlier films, doesn't make it interesting watch for audiences.

Nayantara is a feast to watch on screen. Her screen presence, lvely expressions, dance and what not. Everything was par excellent with enough zing. Her costumes added the flavour.

Santhanam is truly typecasted. Though he evolved few laughs with his witty one-liners, a little change in his dressing and performance could make a difference, as audiences watched the same in handful of films now.

Technical Analysis:

Jagadish ha nothing new to offer in Nanbenda. A very simple script and the debutante filmmkaer seems to have blindly followed his master M Rajesh. Instances were seen in costumes, dialogues and characterizations.

Harris Jayaraj has come up with a well driven music. Couple of songs are well pictured with Balasubramaniem's camera effects.

Editing by National award winner Vivek Harshan could be better. He could have easily trimmed 15 mins of the film, as the actual story begins before interval.

Red Giant Movies presents Nanbenda is visually proficient with good color tone.


Udhayanidhi's Nanbenda is acceptable in parts that too for Nayantara. Everything else seems stereotype. Besides inspiration, it seems to be a poor sister of Oru Kal Oru Kannadi [OKOK] with its own moments of interest and defects.

I even wonder how stars give their consent to such wafer-thin scripts with inconsistent characterizations. On the whole, “Wine isn't tasty with added ice box”. Neatly stitched characterizations with interesting twists and turns make a movie.