Yogeesh, introduced by director Soori in the Kannada film Duniya as a small time underworld functionary, was excellent in the role. In Nanda Nanditha, too he exhibits the same kind of casualness as seen in Duniya.
As for director Vijayakumar, he had achieved a comfortable degree of success in Kannadadha Kandha and Gejjenaada. His films are fast paced and sometimes defy logic. In Nanda Nanditha too, he repeats the formula.
Aiding him in this endeavour are Manju Mandavya's dialogues and new music director Emil's music. The hit song Jinkemareena has helped the film immensely.
But one thing troubles those who are looking for films of good quality. What do these filmmakers achieve by making the same kind of gangster films again and again?
Nanda Nanditha is such a film where a boy from a slum takes up violence. Dressed in designer clothes and expensive glares, he is shown enjoying a good life, never mind the kind of message this kind of glamourising does to unsuspecting young minds.
The story revolves around Nanda who is thrown out of his house by his father and step mother. He is helped by a friend who runs a recovery agency. Nanda becomes a regular member of the agency and shows his guile and power to recover money. He meets Nanditha who works in a pickle factory and gets closer to her. As love blossoms, Nanda shows a desire to change. At that time he gets an offer from a big don to kill another underworld don-turned politician. Things get complicated when Nanditha witnesses the attack.
Coming to the performances, Yogeesh repeats his Duniya act, showing that he certainly has not come out of the shadow of 'Lose Madha'. Even the publicity of the film harps on 'Lose Madha's' role. The director hasn't even bothered to give the character a new look.
Nanditha is quite good while Lingenahalli Sureshchandra is natural in the role of the villain.
Other than Mathew Rajan's photography, there is nothing much to write about.