Naan KadavuL has most of the things we've come to expect in a film by Bala after films like Sethu, Nandha and Pithaamagan - the unique characterization, the spotlight on a section of society seldom seen in films, the dark, depressing tone and the uncompromisingly bleak storyline. But the one aspect that drove those films forward - the strong relationship that existed between the main characters - is missing and that makes the film have less of an impact compared to Bala's earlier efforts.

Rudran(Arya) was left in Kasi as a boy by his dad, after warnings from astrologers that the boy would bring bad luck to their household. The boy has grown up to be an Aghori, a sect of sadhus who believe that they are God and possess the power to halt a dead person's rebirth. He returns to Malaikovil with his dad but continues to live the life of a sadhu, much to the chagrin of his parents. Malaikovil is where the ruthless Thandavan has made a business out of sending disabled beggars to beg outside the temple. The latest unwilling addition to his gang is Hamsavalli(Pooja), a blind singer.

Bala turns his unforgiving camera on begging this time as we get to see how it is carried on as an organized business by people who control the beggars and their income. While its sad enough seeing the disabled beggars ply their trade, we are given a behind-the-scenes look at what happens when they are not out on the streets. And its horrific. Bala unflinchingly trains his camera on the group of physically disabled beggars and its not easy seeing the conditions they live under or the treatment meted out to them by the man who controls them. Proceedings do sometimes veer dangerously close to feeling exploitative but the fact that Bala is simply shining light on things that do happen in the dark recesses of society is always at the back of our minds.

Surprisingly, Bala manages to inject some humor into this depressing scenario too. Life has given these members of society a really raw deal but they make what they can out of it. Their snarky comments and rascally behavior induce laughter and it is impossible not to smile as they gang up and do what they can to have fun when away from the eyes of their owner.

When seen over the whole movie, Arya's character arc does validate the title. Like in all those stories about God, he gets an impressive start in Kasi where we learn about him and his powers, goes to a place where he is most needed, destroys evil and helps those (in different ways and some more than the others) in need. The problem is that he seems to be simply a bystander for the most part once he goes to Malaikovil. He goes on with his life - which consists entirely of smoking ganja and chanting a few slogans - and his path never intersects with that of the beggars. So he is more a supporting player than the central character. In fact, there are times(like his visit to the police station and the court) where he is reduced to playing the role of a comedian, as the interactions of others with him are played mainly for laughs.

Arya's emotional detachment works against the film in the concluding portions since he doesn't develop a connection with anyone. Logically, it does make sense as Aghoris are supposed to be free of emotional roots, as Arya's guru tells him before his trip, and they can see someone for who he really is. But from the point of view of the movie, it disallows the emotional build-up that is so important for the climax to work. So the climax feels rushed and the surge of emotions we usually get when the bad guys get their comeuppance doesn't really happen though the bad guys here are some of the baddest we have seen.

Arya looks the part of the sadhuand has perfected the body language and fiery expressions that go with it. But he doesn't have to do much more than that. A completely deglamorized Pooja inhabits the role of the blind singer very convincingly. She earns our sympathy and is terrific when pleading with Arya in the climax. The actor playing the beggars' owner earns our revulsion with every single act. Ilaiyaraja's background score is suitably solemn in the scenes involving the beggars and powerful when Arya is onscreen. Om Siva Om... is expectedly rousing as it begins and ends the movie while Pichai Paathiram... sounds even more somber considering the scenario. Neither Amma Un Pillai... nor the short clip of Maatha Un Kovilil... find a place in the film.