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‘Love is political’ As per the verse ‘The Star Moves’ is about how false honor tries to kill the natural love between people.
Arjun (Kaliyarasan) leaves his hometown and comes to Puducherry with the dream of acting in cinema and becoming a big hero. There, he joins a theater group and engages in acting training, but conflicts with the group’s ideologies. A political play is planned to be held by the drama group. This also leads to a romantic break between Rene (Dushara) and Inian (Kalidhas). ‘Nakshatram Nagaranha’ is a film that tells us whether a political drama was played out in the Nakshatra crowd, what happened to Arjun, what happened to Tushara-Kalidas love in the Nakshatra assembly, which is moving due to such many sub-plots.
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Dushara Vijayan as Renee Tamil. A compelling female character cast in Tamil cinema. A heroine with an arrogant body language, fearless attitude, speaking her mind, doing what she likes and being clear about what she wants. As Iniya, Kalidas Jayaraman has played the role given to him brilliantly. But, his character could have been written with more depth. Kalaiyarasan’s performance in the reactionary role is impressive. He notices insults and drunken fights. The great strength of the film is the excellent acting of the characters in the ensemble cast.
Director Pa. Ranjith takes us by the hand and takes us to a new world completely away from the romantic films we have seen so far. Love in that world was not limited to a man and a woman. Instead, love shines across gender, caste, religion and color differences. Especially there, the love of transsexuals and the love of transsexuals are discussed without hesitation. There were no women bound to men, no weeping women, no savior-minded men. This new development in Tamil cinema should be appreciated.
There is much to enjoy in the film. Overall the visuals of the film take us to another plane. Love, the visuals for it and Ilayaraja’s accompanying song are a feast for the eyes as many scenes unfold poetically. Ranjith’s greatest strength is his non-promotional screenplay. But in the first half of this film, the dialogue that starts with ‘Kathaalnna enna’ gave the feeling of sitting in a classroom. Some of the scenes that followed gave the propaganda a boost.
‘Unless class is abolished, caste is abolished, everything is in vain’, ‘It’s not just me, it’s my social identity that matters’, ‘Theatrical love’, ‘They are girls enough to wear 200 rupees dessert’, ‘Anda Paramparai’, ‘Prince, Shankar, murders’. The screen is full of politics without compromise. On the other hand there is no need to completely exclude dissenters. Rather, the view that society is what they belong to is noteworthy. By trying to have a comprehensive dialogue, the aim here is not to ignore.
Natar Deity Worship, Buddha Painting, ‘No Means No’, Beef, ‘Wild Cat, Nattu Paani’ Strong Female Characters, Reservation Ranjith Touch. It was enjoyable to see Ilayaraja as a character throughout the film and his songs flowed through the scenes.
Besides, the length of the film makes the audience squirm out of their chair after a certain point. There are a few speed breakers here and there like the plot rush at many places, the deep lack of writing despite having a lot of characters, break-ups due to flimsy reasons, and a character who turns out to be a good guy. Tanpal attractors may even talk about love. Interviews with victims of the documentary massacre give the feel for the documentary.
Kishore Kumar’s cinematography adds color to the romantic scenes. The drama, the songs, the climax, his camera shines like a star. Tenma’s music is a strength to travel along with the story. The songs ‘Rangaratinam’ and ‘Kathalar’ get attention. The art direction is very enjoyable. Art Director Jayaragu’s role is crucial in changing the overall tone of the film.
All in all, apart from some flaws, you can feel the star moving and twinkling. Watch the movie for a new screen experience.