Action / Drama
["Action "," Drama"]
Rudran (Arya) in Kasi. Fourteen years later, repenting his act he goes with his daughter in search of him. He finds him there but is shocked to learn that he has become an Aghori, a character who gives moksha and prevents the soul from getting rebirth. Nevertheless he brings him back to Tamil Nadu. The story takes a turn here and introduces us to the world of physically and mentally challenged beggars. A world controlled by the cruel Thandavan (Rajendran). Hamsavalli (Pooja Umashankar) a blind girl is forcefully separated from her troop and made to join the beggars. Soon she becomes another victim of Thandavan's cruelty. Meanwhile, Rudran leaves his house to find his place on a small cave, and soon meets Hamsavalli, who tries her best to convince him to return home, but fails. Thandavan then takes a deal with a Malayali man of the same profession to sell some of the beggars.The Malayali guy forcefully takes the beggars away,although they want to stay with the rest of the beggars. He returns again,but this time to force Hamsavalli to marry an ugly, deformed man for 10-lakhs worth of money. Thandavan orders his men to bring Hamsavalli but they take Hamsavalli to Rudran to help her. Rudran kills the Malayali guy and is also arrested by the local Police. This agitates Thandavan and he orders the Police man to release Rudran so that he can kill him. In the mean time Thandavan also finds Hamsavalli and on one incident, Hamsavalli refuses to marry the deformative,which angers him and he runs away without marrying her. This angers Thandavan, who deeply wounds her. Rudran is shown wounded in his forehead with blood oozing out. Flashback opens where Thandavan appears face to face with Rudran. In the fight between the two, Rudran kills Thandavan. Rudran's wound in the forehead is caused due to the fight. She later goes crying to Rudran to somehow free from this curse and also prevent her from rebirth. The aghori then kills her and grants her moksha. In the final scene Rudran returns to Kasi. Written by Sadiq Khan ([email protected])
Uploaded By: FREEMAN
Jul 23, 2020 at 11:24 am
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challenge to the world cinema
as SUPER STAR 'RAJNIKANTH' said here after never such a movie can be made..it goes down as one of the all time classic movies..like bala's previous movies SETHU, NANDHA , PITHAMAGAN he continues to stunt you with realistic story of NAAN KADAVUL..ARYA's dedication in the movie will make his carrier to look back...he has set a standards which other have to follow..ilayaraja has again gave a evergreen memories with his excellent music..he has done magics with the background score..Bala has tried to debate a few serious issues in the movie. The first is obviously about who is God? He also talks about life and death and how death is actually a boon to one who cannot lead a good life. Summing up, Naan Kadavul is not a movie that everyone can digest. It shows reality in such brutality that you wonder whether such things really do happen. It cannot be called violent; the word 'brutal' has to be repeated often to describe the movie.
A well told 'insensate' film
Director Bala is notorious for his unique choice of disturbing subjects and Naan kadavul is no different. This time around he comes up with a story down under the hells of reality.
Aarya plays the lead role of an Aghori devotee named 'Rudra' which probably is the least humane character that any actor would dare to do. Shiva is the lord of elimination in Hindu texts, and an Aghori who is an ardent follower of Shiva believes in 'Dushta nigraha' or elimination of the evil. Aarya has done fair justice to the role and Bala has exploited him in his looks and acting potentials. Bala seems to have spent enough time in studying the life style of the Aghori sects and beggars. That reflects in the eventual realism that results.
Cold blooded action and shocking pragmatism may disturb the audience. So you have to prepared for 'anything' and 'everything'. Cinematography is a chilling package of the movie and every face that comes along in the movie appears real and original to the plot. Music by ilayaraja is definitely fitting to the scheme.
Violent imagery is objectionable to minors and women. So it's not any family 'go-watch'. But the movie is well told, and questions the true nature of Kadavul- the God and repeating statements made by Rudra-'Aham brahmasmi' surely keeps you thinking.
If you can appreciate the alternate thinking that the director has convincingly achieved in the movie then go and give it a try.
A defining moment in spreading vedanta thru the media
Philosophically rich and very realistic to those who have seen and dwelt in the social-law defying black hole that is sometimes India. Divine and terrible at once, spiritual and materialistic living hand in hand. Like the beggars around the holy man in the South Indian temple who themselves dress themselves up as great sadhus but are mere men. It takes a trained eye to differentiate the true sadhus from the fake in India.
This is not a brutal movie deifying moral killing. It is a true telling of the beliefs and lives of a sect of people who practice a system of law and order much older than the English language. The court scene punctuates the point further; does a easily corruptible legal system really serve justice better than the judgment of one realised soul? What the movie doesn't perhaps cover too well is that by punishing the unjust/unwilling to live, the Aghori is taking on his/her karma on himself and considers it a task that he is duty bound to do.
The personality of Rudra's mother is a stereotype taken out of vedantic stories of mothers who want the best for their children yet who struggle to release their offspring who wish to dedicate their lives to god. Very similar to a mothers reaction to a child wishing to become a nun or a priest in the western world. The sage Ramana Maharishi's mother struggled similarly to accept his calling.
They say you cannot convert into Hinduism, that you must be born into it. Perhaps more such movies are necessary in this globalised age for the world to breach this misconception and bring the philosophies of the east and west together. There is still so much I can learn from this movie and I intend to watch it often enough to grasp exactly what the writers were trying to say.
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Brilliant BALA !!!
Naan Kadavul, written and directed by Bala, will go down as one of the boldest films made in the Tamil cine industry. It is based on the novel, 'Ezham Ulagam' (Seventh World), written by Tamil writer Jeyamohan. Naan Kadavul is an honest attempt at showcasing 'ezham ulagam' - the 'Dark World' of beggars and aghori sadhus *as is* - a movie in its true ART form - a movie sans melodrama and fairy tales.
The movie is anything but judgmental. It doesn't preach atheism nor does it say that it is better to die than to lead a miserable life. It leaves the judgmental part to its audience. As a movie in its true ART form, Naan Kadavul chooses to show the lives of two contrasting groups of people * as is*, goes one step higher by establishing a strong connection between the groups symbolically and stops there - true to its intent.
The screenplay is extremely good. Pooja's acting is mind blowing and Arya comes up with his best performance to date. Ilayaraja;s BGM and 'Pitchai Pathiram' song ROCKS. Its a must watch for every movie buff.