Nodi Swamy Navirodu Heege: A masterfully told humorous take on marriages and the cost of companionship

Shankar Nag is widely revered as one of the best film personalities of all time for KFI. His films have always been regarded as being ahead of his time. These were stories that were adamant on breaking the norm and doing something that was unheard of in the cinema landscape back then. Multiple films have served as inspiration for film and filmmakers working today. There are many films that can be dissected and broken apart to reveal his genius but there is one film that has always stood the test of time and been the most popular way to witness his genius again. A movie that is a testament to the reason Shankar Nag is held up as one of the greatest talents to ever grace the industry. Humour, messaging and raising cultural questions all done in one single film. Simultaneously a family entertainer and a representation of the youth of 1980s. It is of course, Nodi Swamy Navirodu Heege. His incredible direction and writing genius helps steer this breezy romance film into an out and out masterpiece. He is able to tell a story of 3 different walks of life in terms of romance by subtly changing the cinematic language for each one and none of it feels out of place.

The first half is a bachelor's paradise, there's freedom and joy in the frames. The walls are popularized less by film posters, cleanliness is scarce and convenience galore. There's tea in a bucket, there's packs of cigarettes, an old moped that serves as nothing but a way to get out and about everywhere as there is no obligation to stay at any one place. Stagnancy is less frequent and the camera tracks along the lanes of Bengaluru as he joyously escapes and blends into the city and everything it has to offer.

There is a youthful romance that is budding alongside the bachelor story which is a gateway into the trapped and claustrophobic marriage story the film wants to focus upon. The film is clever with how it begins to focus on the marriage story mostly within their house. The house replaces the quirks and freedom that came along with the part of the screenplay where we focused on the bachelor. The feeling of being stuck and stagnant adds to the frustration that you are already able to experience second hand as you bear witness to a marriage falling apart. It is a precisely rageful story complete with frequent arguments but there is no sap allowed to leak into this story.

The sappy romance complete with a death and a mental illness is held onto for the last story the film tells that is supposed to be the last nail in the hammer for the films messaging. The tone never feels like a misfit for a concise and precise film as the film continuously sets you up for a story like this right from the title track in the beginning of the film.

The film won when it was able to incorporate all of these stories to help make its point about co-existence without ever feeling like an absurd tonal shift. It eases you into the fights and makes you curious for the painful backstory of the protagonist through multiple hints throughout the runtime. It always is able to transport from what feels like one film to the other with ease and even changes protagonists without feeling jarring. It is extremely balanced in terms of tone and is a treat to watch through and through.

The other quirks of watching this film are endless, it is incredibly hilarious throughout the first 2 acts with zippy one liners, cleverly setup sequences and incredibly hilarious transitions. The amount of joy the film has with the landscape of Bengaluru while also being a clear ode to the city is very satisfying. Even the sets that are designed to represent these aspects contain humour hidden in the background. The film posters are talking about the scene in the foreground, there are replacements from the bachelor to marriage. There are also multiple scenes where the placement of the camera is able to extract a chuckle out of the viewers. These are all aspects that can be also seen as the sheer clarity the makers had with this film because the attention to detail is noticeably fascinating.  The performances are undoubtedly extraordinary, Shankar Nag shines as the protagonist and represents the attitude conveyed by the title throughout. His comedic timing is the direct result of incredible writing and sharp performance which always has the ability of getting genuine laughter. Ramesh Bhat is able to sell the awkwardness of a budding romance while also changing the performance entirely while staying in character for when he becomes the husband. This two combined produce laughter throughout the first two acts and Ramesh Bhat is solely responsible for all the tonal shift seeming not out of place in the third. GK Venkatesh’s music is also quirky at the right times and balances it with tradition when required. The title track has survived generations which speaks volumes about how much this movie and its music has held an impact over the industry.

Overall this quirky romance which is an ode to the city and a flick that highlights the triumphs and troughs of living together is an incredible experience to watch and is one that gives enough joy to anyone watching. It is one of the funniest films from an era gone by and serves as a reminder of the city and its people over 40 years ago. It is an experience worth revisiting just to see the city but the sharp humour and immaculate writing make it so that it still feels like a masterpiece all these years later. The humour has aged well and no jokes seem like a product of its time. It is a film that has been celebrated for the entirety of its existence and watching it not only assures the viewer of why it has been, it also confirms the fact that it will be celebrated for years to come.