05 Dec, 2014 1 hr 53 mins U
Manoj Devadoss, Veena Nair, Visagar, George Vijay, Balaji
The film’s story could have become a gripping one, if only more attention had been paid to the authenticity of certain sequences and the manner

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  • Critic's Review
  • Times of India
Synopsis: A youngster based in North Madras called Maari (Manoj Devadoss) develops a passion for boxing or rather a rough version of the sport in which fighters don't don boxing gloves. He trains under Mani(George Vijay), who goes to the extent of bringing him up. At one point, Mani is compelled by Devaraj(Rajesh), a don who is into fixing and betting fights, to fix a fight in a private tournament. Devaraj wants Mani's fighter to lose to his boxer. Mani has no option but to agree and decides to field Maari for the bout. However, Maari wins, angering the don, who now challenges Mani to another fight - one on which he bets all that he has...

Review: The movie begins with a promising introduction through which one is presented little known details of North Madras such as the love that most of those native to the area have for the sport of boxing. However, just when you begin to think that this movie might, after all, be the one to capture the true spirit of North Madras in an uncompromising way, you realize that the director has lost the plot.

The film's story has potential and could have well gone on to become a gripping one, if only more attention had been paid to the authenticity of certain sequences and the manner in which they have been packaged. For instance, Manoj Devadoss as Maari looks convincing as a boxer. Sadly, his opponents are not. Also, even the few training sequences are totally unconvincing and leave you disappointed. In fact, one gets to see the trainer have a meal more often than training his boxers.

The romantic sequences between Maari and Maha (played by Veena Nair), a girl working in an IT firm are interesting, at best. However, even these portions are not without their share of problems. Maha, whose wealthy family is now only a shade of its former self, thanks to the villain having cheated her father and murdering him to possess a costly diamond owned by the family, longs to take revenge. In the process, she hires a sleuth to keep tabs on Devaraj. The sleuth she hires looks totally out of place. It is at this point that one feels that another round of fine editing would have helped the film come across as a more seamless product.

Charles Melvin's music and cinematographer R S Saravanan Pillai's work are good in parts. Naangellam Edagoodum could have been much more than what it eventually has turned out to be.
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