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Pandrikku Nandri Solli Movie Details

Pandrikku Nandri Solli is a 2022 Indian Tamil-language black comedy film directed by Bala Aran and produced by Vignesh Selvaraj under the banner Head Media Works. The film stars Joe Malloori and newcomers Nishanth and Vijay Sathya in the lead roles. The film’s music is composed by Suren Vikhash, with cinematography handled by Vignesh Selvaraj himself and editing done by duo- Ram and Sathiesh. The film was titled from a phrase of a Tamil riddle and it became popular after actor Vadivelu used in his dialogue in Imsai Arasan 23rd Pulikecei. The film was released via OTT platform Sony LIV on 4 February 2022.

Pandrikku Nandri Solli Movie Review

In Pandrikku Nandri Solli, an aspiring filmmaker finds himself in the middle of a chase to rescue an ancient statue of a pig said to be endowed with magical abilities. Director Bala Aran establishes the idea with an intriguing back narrative for the statue, which was brought to India from China hundreds of years ago, conveyed through animation.

The pig statue is the film’s McGuffin, upon which he builds the plot. Devaraj (Nishanth) is a filmmaker who tries to market his story through Sagavaram, a criminal. Cops Needhimurugan and Jaffer (Chella) arrive on the scene, which is unfortunate. What Devaraj doesn’t realize is that he has a piece of a puzzle that will guide him to the location of the statue. When he realizes this, he decides to go hunting for it himself, attracting the wrath of both the cops and the criminal. Who will emerge victorious in the end?

Pandrikku Nandri Solli is an idea-filled film that aspires to be a black comedy. You can see the kind of movie that would have played in Bala Aran’s head, but the writing seems to have fallen short of capturing that.

When the same characters keep bumping into each other in the same places, the coincidences start to feel like lazy, expedient writing. One intriguing component is how the director inserts us into some scenes in the middle and then flashes back to tell us what transpired up to that point. After a while, even the novelty of this technique wears off. The plotting, too, isn’t strong enough to keep us completely immersed in the proceedings. Suren Vikhash’s hilarious, albeit unrefined, music serves as a constant reminder that what we’re witnessing is a comedy.

You don’t expect good production standards from indie films, but when the visuals appear cheesy, you start to question if you’re seeing a movie or a YouTube video. In this example, this is entirely correct. The unprofessional acting adds to this impression; there isn’t a single performance that feels convincing, as we can easily tell that the performers are performing between a’start’ and a ‘cut.’ Even if you strive to ignore these flaws, which you should, given that indies like Kayamai Kadakka and Oomai Sennai have lately proved that good filmmaking talents can help overcome budget limits, this film falls short due to its uneven script.