Naan Kadavul comes across as a mediocre documentary about the sorry plight of beggars in Malaykoil village in Southern Tamil Nadu interspersed with the weird antics of a pot-smoking Aghori Sadhu Rudra (Arya) from Kasi.
Since Naan Kadavul director Bala also takes credit for the story and screenplay, he’s the arch-villain of the piece.
The movie starts off with a father (accompanied by his young daughter) coming to the holy city of Kasi in search of a son he abandoned 14 years earlier in the holy city because several astrologers had warned him about the young boy being a bad omen.
Soon, the son Rudran - now a young, weird-looking Aghori Sadhu in black dress with long hair, a heavy beard and mustache - is located on the banks of the Ganges.
And father, son and daughter are on the train back to good ol’ Tamil Nadu.
No sir, they do not live happily ever after.
The young man continues his strange practices of prayer and Ganja smoking at home and not even all the plaintive wails of his mother will melt his stony heart.
Rudran is both of this world and not of this world.
Before long, he’s left his new home and ensconced himself in a nearby temple where he’s seen smoking pot and chanting Aham Brahmasmi much to the fear of other priests and the distress of his family, who want him to return home.
Even before Rudran has reached home, we’re introduced to the cruel Thandavan, the owner of a motley bunch of maimed and grotesque beggars. Through merciless whippings, Thandavan (with the help of his henchman Murugan and and the local police) puts these decrepit creatures, the flotsam and jetsam of Indian society, to beg outside the temple and on occasion even sells them to other beasts like himself.
A lot of screen time is devoted to depicting the sorry plight of beggars and Thandavan’s ruthlessness shown in various ways including in the kidnapping of a blind girl (Pooja) with a melodious singing voice.
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