Nadunisi Naaygal has a well-intentioned message about child abuse, although the message remains separate from the rest of the film. Scenes of violence, murder and sex witnessed in childhood create an emotional dependence on Veera with the woman who rescues him from her father. The promiscuous father subjects the boy to orgies, sexually abusing him to turn him into a serial killer and psychopath. From the 1960s “Psycho” directed by Alfred Hitchcock to “The Silence of the Lambs” starring Anthony Hopkins, Gautham Menon’s “Nadunisi Naaygal” has them all.

Veera plays the role of a 13-year-old boy who does not look like what is said. The wig can fly off his head at any moment, if the wind hits his face. From there, he grows up killing girls that Veera isn’t mostly responsible for. The painful silence of the absence of background music, but the appropriate re-recording of the sounds, are involved without the conspicuousness of the absence of the BGM. Live-sounding dialogue strains your ears to bleed, making it impossible for you to distinguish English from Tamil dialogue.

Nadunisi Naaygal is definitely not a rural delight, but meters will embrace the film for its elegant making and elegant approach. Gautham Menon sells and his finesse as a director, borrowing only creative aspects from popular films to transmute them into his style, appeals, and yet the director portrays women with attachment to women’s sympathy. He has tried to hide the fact that the film excites with subliminal and sexually suggestive content and has failed to do so.

Veera shifts between narcissism and inverted narcissism to satisfy her urges and the desires of Meenakshi Amma, whose fate is revealed at the end. She is symbolically revealed in the middle when she suffers burns after Veera sets her husband on fire. Nadunisi Naaygal is far from Bharathi Raja’s Siappu Rojakkal, but it is quite close to “The Silence of the Lambs” in terms of Meenakshi Amma’s desire to weave girls’ hair. This also has something unrevealed until the end.

The emotional dependency then turns out to be an emotional interdependence between the two main characters: Veera and Meenakshi Amma. A good moment in the movie is when the director creates a ‘no way out’ for Sameera Reddy when Veera gets hit by her. When she tries to escape, she is faced with a whole new set of enemies, which is one of a kind in writing. With a shorter duration and smaller theatrical releases, hitherto unknown aspects of Indian cinema may raise prospects for the film to be released in more centres.

Even then, the inspirations are evident, which was successful in ‘Psycho’ and ‘The Silence of the Lambs’ and in many other films of the contemporary era. From ‘Psycho’ to ‘Anniyan’, ‘Nadunisi Naaygal’ has everything that is also based on a true life story. The film’s leitmotif about ‘Child Abuse’ is overshadowed by the film’s psychopathic tendencies.

The climax is totally riveting with unseen production values, designs and dark, manual and heartfelt cinematography by Manoj Paramahamsa. When Veera is shot by Sameera Reddy, he almost seems like a deliberate “Silence of the Lambs.” Nadunisi Naaygal is not suitable for women or children and to say that it is not suitable at all is more suitable as it captivates you with disturbing images, gore and gruesome murders. This disclaimer must be issued in advance as you cannot accommodate children at any cost.